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SINGER 

Instructions 



FOR 



Art Embroidery 






PUBLISHED BY 
SINGER SEWING A\ACH1NE COMPANY 



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Copyright, 191 i, bv Singer Sewing Machine Co. 



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General Instructions 



In using tlie Singer Sewing Machine for 

lace making and embroidery, there are some 

very important rules that must be followed 

K,by all who desire to learn how to do this 

most fascinating work. 

The most important thing is to be able, 
easily and naturally, to exercise an indepen- 
dent movement of the feet and the hands. 
The feet must be trained to start, stop and 
operate the machine very slowly by means 
of the treadle without any help from the 
hands. This leaves both hands free for 
manipulating the embroidery hoops holding 
the work. The first impulse of a beginner 
is to move the feet in unison with the hands ; 
as a consequence, short stitches are formed, 
and often several stitches in the same place. 

The fundamental rule is: "Move the feet 
slozcly and the hands rapidly." This is the 
hardest thing to acquire, and you will need 
to remember it constantly at first. With 
practice, however, it will become easy and 
natural, and you will be able absolutely to 
control, by means of the treadle alone, every 
movement of the needle. 

In connection with this treadle movement, 
the secret of successful machine embroider}" 
is to know how to control with accuracy the 
movement of the embroidery hoops between 
stitches, gauging the distance to the next 
point where the needle should penetrate to 
produce the stitch desired. 

To prepare the machine 

To prepare the machine, remove the presser- 
foot and raise the presser-foot bar. Then 
push the screw regulating the stitch as high 
as it will go so as to stop the feed. 

See that the tensions are adjusted so that 
a perfect stitch will be made upon such mate- 
rials and with the same silk that you intend to 
use for the embroidery work. 

While not essential, it is suggested that the 
feed and the throat plate be covered with a 
plate made for the purpose, using No. 3258g 
for Machine No. 66-1. No. 8335 for Machine 



No. 27-4, No. 15259 for Machine No. 15-30, 
and No. 208733 for Machine No. 9W. These 
cover plates can be obtained by mail or other- 
wise from any Singer shop. 

Do not remove the throat plate, nor disturb 
the feed dog because it is essential that its 
position should remain as originally fi.xed 
whenever the machine is used for family 
sewing. 

Place a small iron washer or a spool weight 
on the spool, to retard the movement of the 
upper thread. A spool weight ( No. 9537 ) can 
be obtained at any Singer shop. 

Preparation of hoops and placing material 
therein 

Take the two hoops constituting the em- 
broidery frame and wind them with narrow 
strips of white muslin, covering them diagon- 
ally with one or more layers of the cloth, 
according to the thickness of the material on 
which the embroidery is to be done, as this 
must be held stretched firmly between the 
hoops. 




Figure i 

To put the material in the hoops, stretch it 
smoothly over the larger hoop, then press the 
smaller hoop firmly down into the larger one. 
If the material be not firmly and smoothly 
stretched over the frame, tighten it as shown 
in Fig. I, being very careful not to stretch it 
on the bias, but to pull it with the thread of 
the goods, doing the work slowly and care- 
fully. If the material be so delicate that it is 
liable to be injured by the hoops, notwith- 
standing the muslin padding, place tissue 
paper or cotton between them. 



Sometimes the material upon which the em- 
broiden- is to be done is smaller than the 
hoops, or the design is so large that it comes 
close to the cloth. In such cases sew the 
material firmly to a piece of strong cloth large 
enough to cover the frame. In order to keep 
the work fresh and avoid disfiguring pinholes, 
it is advisable to sew to the outer rim of the 
larger hoop a piece of cloth large enough to 
permit of rolling in it whatever material may 
project beyond the frame while it is on the 
machine, and to wrap the entire design in 
while it is put away. 

Placing work in machine 

Fig. 2 shows how, by raising the needle to 
the highest possible point, you can ])lace the 
embroidery frame in position without remov- 




Figure 2 

ing the needle ; although in the Singer Sewing 
Alachine the latter is such a simple operation 
that it is usually best to remove it, thus 
avoiding the danger of breaking the point or 
injuring the work by scratching the surface 
of the material. It is advisable to have ready 
an extra set of hoops containing an ordinary 
piece of cloth to be used to try the machine 
after changing the tensions and oiling the 
machine, to avoid any chance of staining the 
work. 

How to handle the hoops 

The embroidery hoops should be held in 
the right hand and moved in the direction 
required, while the left hand is used to press 
the goods gently down in front of the needle. 
(See Fig. 3.) Practically, the left hand does 
the work of a presser foot and the right 
hand acts as a feed. You will understand. 



therefore, that the movement of the right hand 
is what determines the direction and length of 
the stitch. 

Do not change the position of the hands in 
holding the hoop. Guide the hoop backward, 
forward, right, left, or in circles, without 
removing the hands from the hoop at any time. 




Figure 3 

Practice slowly and carefully, and when you 
have learned to govern the movement of the 
frame, you will find that there is no exercise 
more valuable to a learner than that of making 
stitches between two parallel lines drawn on 
the cloth about a quarter of an inch apart. 
Persist in this until you can drive the needle 
through the center of each line at will. When 
this is accomplished, decrease the space between 
the jiarallel lines until you have reduced it to 
about one sixteenth of an inch. When you 
have succeeded in making the stitches so uni- 
form tliat the work has the appearance of a 
tiny ribbon aj^pliqueed on the cloth, you will be 
ready to practice the first lesson in openwork 
embroidery. 

Preliminary Practice 

Take a piece of unstamped material to prac- 




Figure 4 




Outline Stitch. Photographic reproduction of actual work done on a Singer Family Sewing 

Machine without special attachments. 



tice on. Be sure it is drawn perfectly tight in 
the hoops, so that it will not drag but move 
freely, and practice until you acquire perfect 
control of both hands and feet. Rest the arm, 
near the elbow, on the table of the machine. 
You can control the movement of the hoop 
much easier in this way than by allowing the 
entire arm to move with the hand. 

Beginning the Embroidery 

When the work is in position as shown in 
Fig. 4, outline the design twice with plain 
stitching and then begin the embroidery. Take 
the upper thread in the left hand, make one 



hot, as some materials scorch very easily. After 
this is done, replace the work in the frame so 
as to bring the unworked part of the design 
within the rings. 

The foregoing are general rules covering all 
kinds of embroidery and hereafter we shall 
take up, step by step, the details with which 
the beginners must become familiar before 
endeavoring to do the more complicated work. 

Before entering into a description of the 
various lace stitches, we show you here 
illustrations which demonstrate the simplicity 
of the work at its beginning and the high per- 
fection that may ultimately be reached. 




J 



Figure 5 



stitch, drawing up the under thread, and hold 
both ends firmly until two or three stitches 
have been taken. This should be done on 
some spot in the cloth that is to be entirely 
covered by the embroidery. 

When you have completed as much of the 
design as can be contained within the frame 
at one time, iron it carefully on the wrong side 
with a moderately warm iron, first covering 
the embroidery with a damp cloth, to remove 
the marks made by the rings. The greatest 
care should be taken not to have the iron too 



Fig. 5 shows the hoop embroidery frame 
covered with a piece of common muslin, used 
to practice the first stitches on. More than any- 
thing else it resembles a child's slate covered 
with the irregular marks made during the first 
lesson in writing: because in machine em- 
broidery, as in writing, the lines show vacilla- 
tion and there is uncertainty in judging dis- 
tance. It is only by persistent practice that 
one acquires firmness combined with freedom 
of movement. The cloth in this frame shows 
the first efforts of the apprentice : unmeasured 



stitches made while learning to control with 
precision the movement of the frame ; limiting 
the length of stitch to the distance between 
two parallel lines imtil certainty of action is 
gained ; covering a cord, which is practically 
the same exercise on a narrower measure : all 
repeated until considerable rapidity has been 
attained, when the learner begins to practice 
covering a square opening cut in the cloth. 
m.oving the frame rhythmically in the desired 
direction and in time with the movement of 
the machine, from one side of the square to 
the other, so as to catch the edge of the cloth. 



In this illustration are shown the general prin- 
ciples upon which all machine embroidery is 
based. 

These same stitches made in the beginning 
without either certainty or fixed direction, 
when grouped together with the precision 
gained by practice (after one has learned to 
control the movement of the embroidery frame 
and to follow the design ) . produce results such 
as are shown in the next two pages, which 
illustrate twelve unfinished pieces of embroid- 
ery as they appear in the embroidery frame. 




Figure 6 




Figure 7 




Shaded Embroidery (Flowers). Photographic reproduction of actual work done on a Singer 
Family Sewing Machine without special attachments. 



Shaded Embroidery 



FLOWERS 



Under this lieading we offer the following 
directions to those who, having a taste in that 
direction and some practice in making machine 
embroidery, together with love of the work 
and good-will, desire to use this mechanical 
method of doing shaded embroidery without 



intelligence and natural artistic taste on the 
part of the worker. We shall describe to you 
how the work is to be prepared and shall also 
give such advice as may be of service to you 
in ordinary work. 

Prepare the machine by inserting a No. oo 




Figures i, 2 and 3 



exceeding the limits of their own ability and 
knowledge of drawing and painting, as it is 
obvious that in order to <lo some of the work 
it would be necessary to have studied and to 
know the fundamentals of art. We confine our- 
selves, therefore, to work that merely requires 



needle ( although No. 000 is sometimes neces- 
sary when there is very fine detail), and use 
No. 00 silk. Place the material in the em- 
broidery frame, having it tight and smooth, as 
the success of the work depends upon this. 

It is well first to select the silks required by 
the model, bearing in mind that the silk on the 



spool is always darker in appearance than 
after it has been worked. 

Let us suppose that the model selected is 
composed of flowers and leaves. 

Stamp the design on the material. Have 
upper tension a little looser than under tension, 
and work the stems of the flowers first. When 
embroidering leaves, petals, etc., always work 
from the outside edge towards the center, 
slanting the stitches according to the design. 

Keep the stitches perfectly even on the out- 
side, but not on the inside. The centers of all 
flowers are to be worked in seed stitcii. (See 



slightly the stitches to carry out the modeling 
of the flower, and see that the stitches finish 
at the base or center of the flower, which is 
the last part that should be embroidered. All 
of which you can readily see in Fig. 5 as well 
as in the petals B and C of Fig. 4. 

When embroidering buds and half open 
flowers, like roses, carnations and others con- 
taining a great number of petals, group so as 
to overlap one another, thus showing only the 
points of the petals. Begin with the inside 
petals and embroider in the same manner and 
direction indicated (D, Fig. 4). then tlie outer 




Figures 4 and 5 



Page 23.) As each hoopful is finished, 
take a damp cloth, nib on wrong side of the 
work and press dry before taking it out of the 
hoop. Turn-overs of leaves and flowers should 
be worked in raised embroidery or, as we call 
it. satin stitch. 

When embroidering the petals of flat flowers 
such as daisies, wild roses, azaleas, etc., em- 
broider toward the center, beginning at the 
outer edge and carrying the stitch toward the 
base or calyx of the flower. Endeavor to curve 



petals, the turn-overs being the last covered 
with the embroidery. 

The center of the flowers should be em- 
broidered in the seed stitch, which is described 
hereafter, as it is a part of the machine em- 
broidery that deserves special study. The stems 
should be embroidered diagonally ( Fig. 4 ) and 
sometiines, depending upon the thickness of 
the stem, they are embroidered in a straight up 
and down stitch moving from the top to the 
bottom lengthwise of the stem (Fig. 5). 




Art Embroidery. 



Photographic reproduction of actual worit done on a Singer Family Sewing 
Machine without special attaclimcnts. 



Art Embroidery 



Any material whatever may be used as a 
foundation for this work ; that is to say, this 
embroidery permits the use of thick as well 
as transparent goods, to be selected according 
to the object to which the embroidery is to be 
devoted. This style of embroidery is usually 
most beautiful when applied to sash curtains, 
scarfs, bed-spreads, tray cloths, and other 
ornamental objects for which the goods gen- 



how it is done. Nevertheless we shall explain 
all the steps that may be useful to you to 
enable you to execute this artistic work in the 
best possible manner. 

The machine should be prepared with a 
Xo. oo needle and art embroidery silk should 
be used for both the upper and lower stitch. 
The tensions should be slightly loose. Use 
Xo. o needle unless the material is very fine. 




Figure i 



erally used is tine antl transparent like bolting- 
cloth, batiste, etc. What will be found best to 
harmonize with these delicate weaves is em- 
broidery done in white silk, as was used in the 
sample reproduced in Fig. i. 

This needlework is not at all difficult in 
itself nor does its execution require great pa- 
tience. By merely examining the sample 
shown in the illustration you will be able to 
determine how the work should be done and 



Xo. oo silk, 70 and 100 D. AI. C. or Singer 
Darning Cotton. 

Patterns containing sprays of flowers are 
the most appropriate for this embroidery what- 
ever its use. 

Stamp the design on the material as usual, 
span the embroidery with the hoops and follow 
the design with machine stitching. 

\\'e shall begin by embroidering the stems, 
using the stem or oblique stitch distinguishable 



in the illustration. This reduces itself to cov- 
ering the stems with stitches running diagonal 
to the lines of the stems themselves. The 
veins shown in the centre of each leaf should 
he embroidered in the same stitch. 

In this embroidery start from the edge of 
the leaf, where the needle should penetrate the 



done it may present the even, correct outline 
necessary to the perfection of its form. 

On the other hand, the stitches that fill the 
inside of the leaves as you can see are uneven, 
and do not preserve the slightest regularity as 
to length. Nor does this part of the leaf 
show any apparent intent to drive the needle 




Figure 2 

same spot several times, that the stitch may be through any precise or determined point, as 

firmly fastened, obviating any tendency to must be rigorously done when embroidering 

looseness. From that point it should move the edges, as we stated before, in order not to 

freely to the centre of the leaf, care being spoil the symmetry of design of the aforesaid 

taken not to destroy the symmetry of outline leaves, 

of the latter so that when the embroiderv is Xevertheless vou mav be assured that these 



long and short stitches taken at irregular inter- 
vals in the centre of the leaves are much more 
difficult to make than those of the border, as 
the latter depend entirely upon the dexterity in 
handling the embroidery frame acquired by 
practice, (we already know how cjuickly it is 
acquired with the Singer Sewing Machine), 
which gives such absolute certainty in driving 
a needle through a determined point in the 
cloth as to enable us to cover a small cord with 
admirable exactitude and rapidity ; but to group 
different stitches so that their location and 
size will produce the artistic and agreeable ef- 
fect that each figure demands — in the accom- 
plishment of this your own skill and artistic 
taste will guide you successfully. 

The entire effect of the work depends on 
these irregular stitches, shaded in from the 
border to the centre of each leaf. We cannot 
determine their length for you nor their pro- 
portion to each other, nor how many of them 
there should be. There are no rules for this, 
because the artistic taste of the operator must 
always figure as an essential part of the work. 

If you have no good patterns to copy 
you may first experiment and study effects by 
making a design on a piece of paper showing 
how the stitches should be disposed. In this 
way, with the aid of your pencil, you may seek 
the best effect until you find it. As you will 
notice by the illustration the placing of these 
stitches give a shaded effect that brings out all 
the modeling and beauty of the pattern. 

When the work is done on satin you should 
use silk of the same color as the ground, or 
somewhat lighter in tone, to produce a mild 
contrast. 

This work also admits of the use of raised 
rings, particularly in the centre of the flowers 



when the work is done on satin, but if done 
on bolting-cloth it is preferable to fill in these 
centres with a small web, as you will notice 
in the illustration in this lesson ( Fig. i ) , taken 
from a sample embroidered in white silk on 
bolting-cloth and showing part of a design for 
a magnificent bed-spread made with these 
same materials. As you may suppose, the 
sample reproduced in the illustration is only a 
small part of this magnificent bed-spread. In 
order to appreciate the beauty of its work- 
manship it would be necessary to see it fully 
extended over an appropriate rose-colored lin- 
ing. That alone would convince you that 
whatever you may imagine in connection with 
it is far from reality. 

In Fig. 2 we reproduce a magnificent Renais- 
sance Lace cover containing many lovely lace 
stitches, and four sunflowers embroidered in 
art stitch with silk on linen. 

This piece of work, which consists of a 
combination of various styles of embroidery 
was made as follows. 

The sunflowers were first embroidered with 
the art stitch which was also used for the four 
ornaments, simulating the leaves of the flowers 
which appear in the four corners of the cover. 
The lace stitches were then worked, and the 
edges of the cover were corded as were those 
of the flowers, leaves and other figures consti- 
tuting the design. 

We must warn you that the cord should 
be covered with silk corresponding in color to 
that used in each figure ; that is to say, the sun- 
flowers and leaves should be corded with silk 
the same color as that employed for the art 
stitch, and the other figures in which these 
stitches have not been used should be corded 
with silk the same color as the groundwork. 



13 



Raised Embroidery 



This is probably the best known and most 
common of all needlework, and. one may say. 
that which serves as a basis of all that is 
learned in the schools. In order to explain to 
you how this work is done on the Singer Sew- 




Figure i 

ing Machine, it is only necessary for us to 
tell you the size of the needle and the thread 
to be employed and how to prepare the 
machine, and then to do with the machine 
exactly as you would do with your hands. 



\\'hile this is usually the first style of em- 
broidery learned, and the one on which the 
greatest practice is expended when done by 
hand, this is not the case when the Singer 
Sewing ^Machine is the rapid and efficacious 
medium of execution employed. Your atten- 
tion is called, however, to the fact that it is 
best not to attempt this new method of doing 
raised embroidery until you have thoroughly 
mastered the machine and the movement of 
the embroidery frame. To do this embroidery, 
a maximum of precision is necessary. The 
cording already referred to as requiring the 
greatest dexterity and ability on the machine 
is not nearly so important as the work we are 
now taking up. This requires the greatest 
precision in the stitch and the utmost certainty 
in properly placing it. Raised embroidery is 
extremely delicate, because of the high ])er- 
fection that must be attained. 

The design should be stamped upon the 
material to be used, and this in turn should be 
placed in the embroidery frame, stretching it 
as smoothly and tightly as possible. (See 
.\. Fig. I.) Then fill in the space between the 
outlines with stitching (see B. Fig. I ) to give 
the desired raised efTect. 

If the embroidery is to be done on lingerie, 
thread the machine with Xo. loo embroidery 
cotton, winding the bobbin with the same 
thread. Have upper tension just medium, un- 
der tension a little tight. If on broadcloth, ti^e 
a No. o needle, and Xo. oo silk. 

Begin the embroidery, taking the greatest 
care to see that the needle goes exactly from 
one line to the other. 

This work should be done so evenly and 
accurately as to make it impossible to discern 
where the stitches join. On curved lines you 
must know how to narrow the stitch on the 
inner curve, as well as how to broaden it on 
the outer curve (see C, Fig. i) so that the 



14 




Raised Embroidery, Satin Stitch. Photographic reproduction of actual work done on a Singer 
Family Sewing Machine without special attachments. 



stitches will be perfectly united without over- 
lapping and without losing their uniformity. 
In otlier words, the work must be done just 
as carefuMy as though done by hand, the only 
difference being the medium employed. This 
necessity for uniformity of outline and 
accuracy in stitch precludes the possibility of 



believe the large pieces of this raised em- 
broidery so appropriately and artistically shown 
in the Arabian department of the Singer Sew- 
ing Alachine Co.'s exhibition at Madrid, would 
ever have been attempted. There we have great 
cushions, divans, tabourets and a magnificent 
table cover, all richlv covered with raised em- 




doing it by machine as rapicily as the latter is 
capable of working, but no matter how slowly 
you go, this method will always be much more 
rapid than by hand. 

If we had to depend on handwork, we do not 



broidery. A most extraordinary sample of this 
artistic work is a splendid curtain, composed 
of strips of lace alternating with bands of 
raised embroidery, which we reproduce in 
Fig. 2. Had it been necessary to do all the 



work on this curtain b}- hand, it would probably 
never have been completed. 

There is shown also two other very showv 



silk. The pattern is composed of large con- 
ventionalized flowers with openwork centers 
filled in with various lace stitches. In the 




Figure 3 



pieces of work each richer and more exquisite 
than the other. Fig. 3 is a handsome petticoat 
made of glace silk, with raised embroidery in 



center of each leaf there is solid space, not cut 
out, covered with raised embroidered dots. These 
conventionalized flowers, which are made sep- 



16 



arately and then appliqueed onto the ruffle, are 
placed alternately at the upper and lower edge, 
and this as well as the flowers themselves are 
surrounded with a festoon of leaves and sprays 
as described in another lesson. 

This raised satin stitch is largely used for 
letters and monograms on table linen or the 



embroideries produce magnificent effects when 
used as transparencies over light. 

This shade is formed of eight pieces of net 
richly appliqueed with embroidery done on 
glace silk. The outline of the large leaves in 
the pattern is brought out in raised embroidery, 
as are the leaves of the sprays of clover. The 
net and silk of the points upon which the 




Figure 4 



finest lingerie. D. M. C. mercerized cotton is 
the best for this purpose. 

Fig. 4 represents a lamp-shade that because 
of its exquisite design and graceful form is 
worthy of a place in the most elegant drawing- 
room. The idea of embroidering objects of 
this kind is most satisfactory as some of the 



clover leaves appear have been cut away leav- 
ing the latter to hang free. 

The seams formed by uniting the eight 
pieces of net are covered with a raised em- 
broidery design of three-leaf clover. The 
shade is finished off in chiffon ruffles, the 
edges embroidered in points. 



17 



Scallops — Beadstitch — Cording 



This lesson, as you will see by the heading, 
can be termed a trio, but be assured it is a 
good one and with the aid of your faithful 
friend and ally, the Singer Sewing ^Machine, 
you can turn it into a quartet that will win 
universal applause. 



A centerpiece with a scalloped edge and lace 
under the scallops is a thing of beauty. Gen- 
erally speaking }i of an inch is a good width 
for a scallop at the widest part ; of course on 
a doylie or anything small it need not be as 
wide as that. 



F 






1 




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Figure i 

Xow wliile this does not entail the necessity If you refer to the article on "Raisetl Em- 
of any new stitclies, it will give you some use- broidery," you will find all the instruction you 
ful suggestions with regard to finishing certain need for making a satin stitch scallop; if you 
kinds of work. Every woman knows what a want it raised, underlay with stitching; if 
nice finish scallops make on many things, such not. simply outline the stamping as you al- 
as dressing sacks, petticoats, especially in flan- ways do, and embroider the scallop, keeping 




Figure 2 



nci. bureau covers, centerpieces for the table 
and doylies. And, further, it is an agreeable 
change from hemstitching and has the advan- 
tage of being applicable to round pieces of 
work as well as to square pieces. 



}Our stitch perfectly even on both sides. After 
you have done all the scallops in the hoop, put 
a very fine cord on the outside edge, as close 
as you can, and cover it with the same silk or 
cotton that you have been using, this will 



18 



enable you to cut the material away from the 
outside edge of the scallops, as you would if 
done by hand. 

If you want to elaborate a scalloped edge. 
a row of beadstitching on the outside edge or 
all around the scallops, before you put the 
cord on. is most effective. This beadstitch or 
backstitch, if you will, is a straight stitch 
about ys of an inch in length, made close to 
the scallop. Make about six stitches, one 
over the other in the same place, then take a 
stitch forward and repeat the operation ; if 
you want the stitches to stand out more to 



look like beads, take more than six stitches 
over and back ; you will be delighted with the 
result. If you are working with colored silk, 
make the beadstitch in a darker shade than 
the one you use for the scallops — black may 
be used with a bright shade of silk with good 
effect. 

Cording can be done in two ways, by cov- 
ering the silk or cotton as we have already 
told you, or by using a couching cord of gold 
or any color you choose and catching it 
down at regular intervals with self color or a 
contrasting shade. 




Venetian Embroidery 



This embroidery is original in every partic- chair covers, and with spleiichd effect on sofa 

ular. Its unusual form, the capriciousness of cushions. In one case a magnificent reception 

its design and its showy appearance form a room suite of furniture covered with satin was 

style so entirely different from that of any ornamented with this embroiderv. This was 

other embroidery that one should carefully an admirable piece of work, artistic in design 




consider how it is going to be used before start- 
ing the work, in order to insure its proper ap- 
plication. We have seen it used as an eider- 
down quilt cover with a handsome, well ar- 
ranged design in each corner. It is used with 
equal distinction and elegance on drawing-room 



and in the combination of colors used. The 
effect was exquisitely elegant, presenting an 
ensemble full of delicate and charming co- 
quetry. Its greatest merit, however, was due 
to the wonderful accuracy with which the 
work had been executed and to the fact that 






^'■Zx <\ 




Venetian Embroidery. 



Photographic reproduction of actual work done on a Singer Family 
Sewing Machine without special attachments. 



it had been done entirely by the daughters of 
its owner. If done by hand, the work would 
have been interminable. 

Having noted the style of this embroidery 
as shown in the accompanying illustration in 
this lesson, you will readily understand that 
the detail is to be repeated to the end. It is 
composed of stars and flowers with angular or 
slightly undulating petals, joined with stems 
or scrolls ending in the design so as not to 
show any unattached ends. It may also con- 
sist of large conventionalized roses, the petals 
of which should be divided off in parallel lines 
worked in graduated shades of color. 

The pattern should be stamped directly on 
bolting-cloth, the material generally used for 
this kind of work except when it is intended 
for furniture, when the foundation should be 
of satin. 

Use a No. oo needle. Outline the design in 
ordinary machine stitching as is customary. 
Use No. oo silk for the upper and under 
thread. 

You will notice that the sections into which 
the petals are divided are always even in num- 
ber. If you wish to take these in multiples of 
three, with the object of embroidering each 
two or three of these sections in the same tone 
of silk, according to the size of the petal, you 
may do so. You should select as many shades 
of the same color as there are groups of two 
or three sections in each petal. Endeavor to 
have the shading as gradual as possible, having 
in mind that the artistic effect of the em- 
broidery will depend quite as much upon the 
harmony existing between the groundwork and 
the shades of the embroidery silks used, as 
upon its precise execution. 

The parallel lines forming the sections are 
one eighth of an inch wide, more or less, 
according to the size of the petal. 

Begin by re-enforcing the stitching at each 
side of the petal that forms the pointed end, 
bringing the stitches down to the first parallel, 
section A, making two or three extra stitches 
one on top of the other, as is done in the raised 
embroidery. Stitch once across the parallel 
line referred to. Now cover the triangle 
formed by the first parallel line and the point 
of the petal with the stitches used in raised em- 



broidery, keeping the stitches close together 
and perfectly even. The stitches should begin 
at the sides and end at the parallel line. The 
spaces that form the section to be covered with 
these stitches should not be filled in, or padded, 
to make them stand out in relief as is done in 
the raised embroidery. In the first section, as 
well as in all those following, great care should 
be taken to have each stitch begin exactly at 
the outer edge of the petal. You will not have 
to be so careful about the stitches entering the 
dividing lines of the sections as these will be 
covered by the stitches put in to fill up the 
ne.xt section. 

As soon as one section is filled, run three 
lines of stitching across the section, covering 
the ends of the perpendicular stitches so as to 
form a new line to take the place of the 
original dividing line which has been covered 
by them. From this superimposed line of 
stitching the stitches that are to fill the second 
section should start. These stitches must be 
perfectly uniform and run in parallel lines. At 
the end of this second section, you will again 
place three rows of stitching, crossing the 
stitches already taken, again to form a substi- 
tute for the dividing line covered by the first 
embroidery. Continue the work in the same 
manner until you have filled in the last section 
or the one nearest the center of the flower.* 
Bear in mind that the triple line of stitching 
previously referred to, which crosses the end 
of each section over the stitches filling in the 
various sections, not only forms a support to 
those stitches but has a tendency to make that 
side of the section appear higher than the 
other, giving an inclined appearance to the 
work and making it look as though one section 
rested upon another. 

Continue this work until all the petals have 
been finished, using the same shades of color 
for each corresponding group of sections, 
beginning with the lightest shade at the point 
of the petal and graduating the tone until the 
darkest one is used in the section nearest the 
center of the flower. 

Having finished the embroidery of the petals, 
thread the machine with the darkest shade 
appearing in the embroidery, using this silk 
for both the upper and lower threads. Now 



cut out the center of the flower and fill it in 
with an elaborate spider-web. as shown in the 
illustration. The center can be seed stitch. 

Now cover the outline of the petals as well 
as the lines forming the stems that complete 
the pattern with chenille couching cord 
or gold thread that harmonizes in tone 
with the colors employed to fill in the 
l)etals. As you will note in the illustration, 
this chenille takes the place of the fine cord 
used to outline the designs in other embroidery. 
It is, however, much easier to work with the 



chenille as it is only necessary to guide it with 
the left hand along the lines it is intended to 
cover, holding it in place by two or three cord- 
ing stitches taken at regular intervals. 

The silk that holds the chenille should be 
in a contrasting shade to this, lighter or darker, 
and you should be careful first to cover the 
stem-like lines in the design before working 
over the outline of the petals. The last out- 
line to be covered is that surrounding the 
spider-web in the center of the flower. In this 
way all the ends of the chenille will be covered. 



"*''^=^^>!^=^^ 




Seed Siitch. Photographic reproduction of actual work done on a Singer Family vSewing Machine 

witiiout special attachments. 



Seed Stitch 



There can be no better description of seed 
stitch than its name, but a few words about 
the way it is used will not be amiss. 

For the centers of flowers, such as wild 
roses, cosmos and dogwood, there is nothing- 
else to take its place. Seed stitch is made by 




Figure i 

taking three tiny stitches one over the other, 
forming a seed or little dot. Do not cut the 
thread, but take one or two fine stitches ahead 
and make another seed, and so on until all are 
made. If you desire to use more than one 



shafle, leave space enough between the seeds 
to put in those of another color ; for instance 
daisy centers are made close together in two 
shades of yellow ; put in the first seeds, leav- 
ing space for the second lot, but where these 
seeds are made on silk or satin with a con- 
trasting color, it adds very materially to 
the beauty of the work to leave a little 
space between the seeds, as it gives the 
efifect of shading. 

Seed stitch can also be used most ef- 
fectively in combination with fancy 
stitches, or in leaves having the center 
clearly defined by a vein, as a rose leaf ; 
one side of the leaf can be made in seed 
stitch and the other in long and short 
stitch, the shape of the leaf and the 
veining being done in outline or stem 
stitch. 

Leaving the realm of silk and satin 
and taking a glance at the sheer and 
filmy fabrics that are so much used for 
our "little men and women," as well as 
for real grown up women, seed stitch 
has a very important part to play. It is 
quite unnecessary to enumerate the thou- 
sand and one dainty things that are made 
not only for underwear but also dresses 
and waists, where seed stitch, which 
takes the place of French knots in hand- 
work, will be a delight to the eye. It 
would be of little avail to tell you all 
this unless we knew of a surety that the 
Singer Sewing Machine would enable you 
to accomplish it and indeed much more than 
we can tell you. Do you know that on the 
finest fabrics you can use No. 120 D. M. C. 
cotton and a No. 000 needle with the best 
results? 



23 



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English Embroidery. 



English or Eyelet Embroidery 



The design selected for this embroider}' 
should be rather large and not very heav)', like 
the one shown in illustration Fig. i, represent- 
ing grapes and grape leaves, or any other 
subject with large open leaves and flowers. 

The machine should have a No. oo needle, 



frocks, christening robes, petticoats and ladies' 
summer dresses because of its extreme sim- 
plicity and elegance. 

Place the material in the embroidery frame, 
and after doing the necessary stitching, follow- 
ing the outlines of the pattern, cut out the 




0«^ 



•»•?•• 

w 




Figure 



the upper tension should be somewhat loose 
and the lower one considerably tighter. Silk, 
or cotton may be used for this work, according 
to the material on which the embroidery is to 
be done, and also according to the use to which 
the finished product is to be put. This em- 
broidery is appropriate for adorning children's 



cloth in each grape (See Fig. i) and fill in with 
a spider-web stitch (See A, Fig. i ) as shown in 
the engraving. Now cover the stitched outline 
made around the grape with a fine cord formed 
of six strands of thread. The lines forming 
the stems of the leaves should also be corded, 
but for this use only two strands of thread. 



25 



Stamp the design (in linen, use No. 70 
D. M. C. cotton and 00 needle, stitcii each eye- 
let whether round or oval three times round, 
the first stitching on line of stamping, the 
second stitching just inside the first, the third 
stitching just inside the second; cut out center 
of each ring, close to third row of stitching and 
cover the three rows of stitching as in cording. 



supply of embroidery finished and ready for 
use. -AH that is necessary is a little practice 
and the will to do the work. 

The aid lent by the Singer Sewing .Machine 
is so potent and so much less time is consumed, 
that the labor involved is reduced to a neg- 
ligible quantity when considered in relation to 
the value of the work done. 




Fieure 2 



If it is desired to make the eyelets appear 
heavier. No. 12 thread may be used as a fine 
cord. 

You will notice that many of the styles of 
needlework herein described are so extremely 
simple, and can be made so rapidly, that only 
a few hours' work will give vou a considerable 



A fine example of this method of embroiflery 
is given in the illustration. Fig. 2. which de- 
picts a child's beautiful frock of batiste covered 
with eyelet embroidery combined with raised 
embroidery. The design is very dainty and 
appropriate. It forms a festoon of leaves and 
flowers, embroidered in No. 100 cotton. 



26 




Shaded Embroidery on Velvet 



Photographic reproduction of actual work 
Family Sewing Machine without special attachments. 



done on a Singer 



Shaded Embroidery 
on Velvet or Plush 



In calling attention to shaded embroidery, shall select the kind of velvet or plush gen- 
which is considered the highest type of ma- erally used for hangings, which gives magnifi- 
chine embroidery reached, for the present at cent results in this work. The illustration 



least, we shall give a description of the work shows a section of border for a curtain. 

done on velvet and plush. The design should be stampeil on bolting- 

As this embroidery is generally used for dec- cloth, 

orating hangings, covers, sash curtains, etc., we Baste the bolting firmly on right side of 



27 



velvet and outline the design twice in fine stitch- 
ing, using No. o needle and No. oo silk. Xe.xt 
cut the bolting-cloth away from as much of the 
design as you have in the hoop. Embroider 
as you would anything else. Great care must 
be used in putting the velvet or plush into the 
hoop. Take a pair of Duchess hoops No. lo 
(they have round edges), wind them with as 
much muslin as the hoops will allow, then take 
a piece of white felt about i8 inches square, 
cut a hole in the center about jYi inches in 
diameter and place the velvet, with the bolting 
basted on, over the outside hoop, lay the white 
felt on the velvet, then put the smaller hoop 
in place. Do not try to have the hoops as 
tight as you would for other materials. 

We should remind you and you will ini- 
doubtedly remember that it is absolutely neces- 
sary to press the material on the wrong side 
with a warm iron before it is removed from 
the embroidery frame. When finished this 
work should be pressed in the same manner 
as velvet applique. 



We have tried to describe to you, in the 
clearest and simplest manner, the many em- 
broideries made by machine up to the present 
time. This does not include the many combi- 
nations that may be formed by selecting por- 
tions of the various kinds of embroidery and 
l)utting them together. Referring to the shaded 
embroidery, we believe that we have explained 
all that is essential in this combination to en- 
able you to know how it should be done with 
this new machine method. Of course, you will 
understand that it would have entailed the 
writing of innumerable articles had we en- 
deavored fully to cover such an extensive sub- 
ject and that at best we would have been able 
only to give you the most elementary knowl- 
edge of it. 

We have concerned ourselves with indicat- 
ing the materials needed and the manner of 
handling them and to describing the results 
obtainable as graphically as possible, leaving 
the rest to your own ability and talent. 




Gold Thread Embroidery. Photographic reproduction of actual work done on a Singer Family 

Sewing Machine without special attachments. 



Gold Thread Embroidery 



This is an imitation of the Philippine em- 
broidery done in gold and other threads and 
which owes its perfection and facility of ex- 
ecution to the special mechanism of the Singer 
Sewing Machine. 

The embroidery should be done on satin, 
the design being stamped on the wrong side 



Place a Xo. i needle in the machine, and 
for the upper thread use gold colored silk as 
near the shade of the metallic thread as is 
possible, having the tension set so that this 
thread will adhere to the right side of the 
material without being either loose or tightly 
enough drawn to show the stitches. The em- 




Figure 



of the material, this being the upper side when 
placed in the embroidery frame. 

Wind the bobbin of the machine with a very 
fine, three-strand gold cord, leaving the ten- 
sion somewhat loose so that metallic thread 
may pass through it without becoming twisted. 



broidery will thus appear on the under side 
of the embroidery frame, which is the right 
side of the material. The gold thread extends 
along the surface merely held into place by 
the upper thread. 

When the embroidery frame is placed in the 



29 



machine, take one stitcli and draw the gold 
thread up through tlie satin, and holding it 
with the upper silk make one more stitch tying 
the ends of the two threads in a knot. Now 
begin the embroidery, making short stitches 
which should be as even as possible. While 
doing this embroidery bear in mind the former 
instructions regarding the direction of the 
stitches. The work should he moved in two 
directions only. 

When the thread on the bobbin runs out 
necessitating replacing it, as well as when it 
is necessary to cut that thread for any reason 
whatever, draw the cut end up through the 
satin together with the end of thread on the 
newly wound bobbin, knotting them on the 
upper or wrong side of the material. 

The figures in the design should be filled in 
with the gold thread, keeping the line of 
stitches as close together as possible without 
having them overlap. (See Fig. i.) When 
the figures are angular in form begin to work 
from the points, if curved, begin at the centre 
or whatever place seems easiest to enable you 
to fill them in evenly without juni])ing from 
one side to the other, which would affect the 
symmetry of the outline and interfere with the 
perfection of the embroidery. 

This embroidery done with gold, silver or 
other metallic thread is most appropriate for 
decorating sofa cushions, fire-screens, or the 
larger folding screens on which it is both 
beautiful and practicable. (See Fig. 2.) It 
also lends itself with excellent results and 
great appropriateness to ecclesiastical em- 
broidery. 







Figure 2 



30 



First Openwork Stitches 



As soon as you have obtained some control 
over the movement of the embroidery frame 
and understand how to carry it skilfully to 
the precise point where the needle should 
penetrate, you may undertake to practice your 
first openwork stitches. Of course one cannot 
even pretend that the stitches will exactly cor- 
respond to the measure of your desire at first. 
That will come later, without your realizing it. 
For the present it will be enough to know how 
to carry the embroidery hoop very close to the 
spot which the needle should enter. Let us 
start on our first openwork. To begin with, it 
will be well to take a large enough space to 
work in, and thus have less fear of making a 
mistake. 



through the machine, or from right to left. 
If the work be moved in any other direction, 
the result will be a chain similar to B, Fig. i. 



A 

1 
1 

B 


D 
C 






1 


i 


2 



Figure 




Figure i 

We will put into the machine a No. o needle 
and No. lOO thread, using the same for both 
the upper and under thread. See that the 
tensions are even. 

Before entering into a description of open- 
work embroidery it is necessary carefully to 
note that in this, as in many other kinds of 
work of the same character, in which the open 
spaces are filled with the lines of stitching, 
these lines may form a cord. (See A, Fig. i.) 
To accomplish this, the work must be moved 
in only two directions : straight ahead from 
you, in the direction taken by the cloth going 



.\n examination of the illustrations accom- 
panying this article will enable you to begin 
and end the more simple openwork. Carefully 
span the cloth with the embroidery hoops. 
Stitch the edges so as to prevent the cloth from 
ravelling, then cut an opening ii/ to 2 inches 




Figure 3 

square. Calculate the width of the mesh or 
filet desired and divide the square into equal 
parts. Make one or two stitches in the edge 



31 



of the first of these divisions (See A. Fig. 2 i. 
to fasten the thread, and from there push the 
frame from you, keeping the movement in 
harmonv with that of the machine, and carry- 
ing the fine cord formed by the two threads to 
the opposite side of tlie square (B), or to 
another of the parts into which tlie square is 
divided, according to the place from which 
you have started. Here again make two or 
three stitches to secure the thread and pass on 
to C, where the stitches to secure the cord are 
repeated. Now carry the cord in a straight 
Hne to D, and so on successively. If the 
hoops are moved in any other direction than 




Figure 4 

those indicated in passing from A to B the 
result will be a chain, (as in B, Fig. i), in- 
stead of a cord. To avoid this turn the em- 
broidery hoop to the right when the needle 
crosses the point indicated by C. Then move 
the frame from right to left, which, as you 




Figure 5 

have been told, is the other direction that must 
be followed. 

Fig. 5. If what has been described to you in 



Fig. 2 be repeated on the other two sides of 
the square, in such a manner that the second 
set of cords cross the first ones, then repeat 
the lines already formed, but carry them 
diagonally across the angles of the square from 
corner to corner, and you will have the mesh, 
or filet, shown in Fig. 3. 

Fig. 4. This represents a netting in which 
the open squares have been filled with eight 
cords, which are magnified here that you may 
better appreciate the work done. After 
making a few stitches in the center, so as to 
fasten the cords that cross there, move the 
frame from side to side, so that the needle 
first goes in on one side of the cord, and on 
the other side the next time. In this way 
cover the original cord so as to increase its 
size until you have gone half its length, then 
come back until you reach the center. Now 
begin to thicken another of the fine cords, and 
continue this work until you have finished the 
eight points of the "star" shown in the illustra- 
tion. 

Fig. 5. This is also a small openwork 




Figure 6 

square like the last. After fastening the 
threads in the center, move the embroidery 
frame in a circle, repeating the movement until 
finally, as the needle passes around the inmost 
center, there will be found a weblike circle as 
shown in the illustration, with stitches that join 
the radiating lines of cord, or star point, with 
a long zig-zag and carry it half way to the 
end, where it should be fastened with two 
stitches. Now carry the cord to the middle of 
the next radiating cords, and so on until the 
circle is formed. \\'here the circle joins each 
radiating line, make the little points that are 



32 



shown in the illustration with stitches that join 
the circle intersecting the radiating lines. Now 
carry the thread along the circle, in order to 
make the next point on the following radiating 
line, always increasing the size of the cord by 
covering it with stitches, as in the lines of 
cord in Fig. 4, until the eight rays or points 
radiating from the circle are completed. 

Fig. 6. This is the result that you will 
obtain if you alternate the little squares of the 
circles with those of the rays or star points. 

This openwork embroidery, although it has 



been presented to you in the easiest and sim- 
plest manner, embraces nearly everything that 
one need know in order to execute the most 
complicated and difficult needlework. These 
lines of fine cord are employed in the making 
of nearly all netting, openwork, embroidery 
and laces, as well as in the making of spider- 
webs, points, lines that are to stand out into 
relief, etc. 

Having mastered the full details of making 
this openwork, any one can make innumerable 
combinations by merely changing the form of 
the design. 




Filet, Netting 



or 



Open Mesh Embroidery 



In the preceding lesson it was stated that 
the open work therein described, although 
presented in a very simple form, ])ractically 
comprised everything necessary for the exe- 
cution of the most intricate work. The only 
additional thing to he considered is the 




Figure i 

cording. To make the cording properly, a 
great deal of practice is required as well as a 
thorough understanding of this new em- 
Ijroidery method. It is not enough to know 
how to move the embroidery frame to a 
]ioint near where the stitch should be placed; 
it is necessary that the needle should pene- 
trate accurately the exact spot. The needle 
should not pierce the cord nor should it 
penetrate the cloth at any perceptible dis- 
tance from the cord ; neither should the 
stitch be any broader nor any narrower 
than the thicknesses of the thread or silk 
used to cover the cord. Care in noting these 
instructions and a reasonable amount of 
diligent practice will enable any one to do 
this cording well. 



Fasten the end of the cord to the cloth 
with two or three stitches ; take the cord be- 
tween the index finger and thumb of the left 
hand, twisting it evenly and guiding it as 
you cord. Place the left hand over the 
work, resting the thumb on the embroidery 
design and the inde.x finger on the thumb. 
(Fig. 1.) Everything else now depends on 
the precision with which you move the em- 
broidery hoops to make the stitches on each 
side of the cord. The size of the needle, and 




Figure 2 

ihe number of the thread should be in exact 
relation to the coarseness of the material on 
which the cording is to be done. To do the 



34 



work about to be described, use No. o needle lines of cord which go from corner to corner 

and No. lOO cotton and have the tensions in the square marked A, then proceed to 

both alike. make the Fpider-web in the centre. Bring 

It should be understood that tlie edges of the thread of the machine along any one of 





Figure 3 Figure 4 

the cloth to be cut away should be outlined the web-like threads until you come to 

with stitching before the lines of cord that sciuare B. In this work a mesh of tiny 

form the netted mesh are placed in position, squares, using the darning stitch shown in 




Figure 5 



in accordance with description on the preced- 
ing page. 

Figure 2. Having made the two cross- 



the illustration, filling in three sides of the 
square with several rows of stitching. Carry 
the thread along one of the nearest lines 



35 



to the sciuare marked C. Within this form 
another square the points of which should 
1)6 fastened to the middle of the side lines 
forming the first square. Continue to fill 
in the remaining squares with this same 
stitch, which is known as the "Spirit Stitch." 
Figure j. This manner of using the darn- 



s(|uare. (See Square C and those following. I 
Figure 4. This is known as the spike 
stitch. Make a cord beginning at A and 
cover it until B is reached, from whence re- 
turn to the starting point A close to the first 
cord, each cord to be covered separately so 
that they will stand out when they arc 




Figure 



ing stitch is as follows: Run a line of stitch- 
ing across the centre of the square ( .V), which 
is to be secured at the centre of the two 
sides. Carry other lines of stitching from 
half of one side of the square to the divid- 
ing line and from this to the other half (B). 
These stitches will form a triangle with the 
apex ending in the opposite side of the 



joined together. l-"rom A pass on to C, again 
coming liack to the starting point A ; thence 
to D and from there start other spikes tlie 
same as the former ones. After reaching D 
go up to E again, coming back to finish at A. 
Figure 6. This is a reproduction of a 
beautiful frock for a child. It is made of 
batiste and shows the same filet ground- 



36 




Figure 7 

work as that in Fig. 5 of the preceding give no opportunity to ajipreciate the de- 
lesson. Fig. 7 represents a tray cloth, also tails of the work, we insert herein thirty- 
showing this filet ground-work. The tray- nine filet or open mesh designs selected from 
cloth is made of satin, embroidered with a large number of samples, which we believe 







Figure S 

silk, and is magnificently effective. .\s the will prove of great assistance to all who 
illustrations show only the amount of filet may desire to study more carefully this 
within the limits of the engravings, and beautiful work. (Figs. 8, 9, 10 and 11.) 



37 




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P'igure 1 1 



Hedebo Embroidery 



Hedebo is one of the most popular em- 
broideries of the day and ever increasing in 
favor; it grows on one wonderfnlly. 

It is a Danish embroidery, indeed takes its 
name from the Httle town in Denmark where 
it is a cottage industry. 

No book on embroidery can be considered 
complete without a word or two about Hedebo. 
Linen is the material above all others that 
should be used, D. M. C. cotton No. 70, No. o 
needle. The tensions medium, not loose. 

It is the arrangement and shape of the open- 
ings in the Hedebo work, that make it so at- 
tractive, and then it can be most effectively 
combined with both eyelet and raised em- 
broidery. 

Hedebo embroidery itself consists of lace 
stitches, bar stitch and cording. There are 
squares, triangles, ovals, circles, hearts, leaves 
and crescents, in an artistic arrangement, with 
well chosen stitches for each. Those various 
shapes are often defined by parallel lines, any- 
where from % to ^i of an inch apart, and 
that is where the bar stitch comes in. Out- 
line the design with two rows of stitching as 
usual, cut out one figure at a time and put in 
a suitable stitch ; do not have too great a va- 
riety of stitches in the same article : have the 
same stitch in all the squares, the same one 
in all the crescents, and so on. 



When you begin to cut away the material 
between the parallel lines, cut only a little at 
one time, while you are a novice, only about 
half an inch ; then run across from one line 
to the other in a perfectly straight direction, 
fasten with two fine stitches and work back 
over it in the same way that you cover cord 
to make it heavier like a bar, then make the 
next one in the same way ; be particular to 
have the bars a uniform distance apart ; for 
small spaces put them a little nearer than in 
large spaces. It is wise to measure the length 
of the lines before you work the first bar and 
estimate how many bars will be required at 
say % inch apart, which is a good distance 
generally. When the bars are finished cord on 
either side. 

Where there are only single lines to define the 
spaces, the cording is done as soon as your 
stitches are put in. With a little systematic 
practice and intelligent study of the open- 
work and lace stitches you will have no diffi- 
culty in mastering this work. You will be very 
much surprised after a little while how easy 
this kind of work will become. The ease with 
which one is able to adjust the tensions on the 
Singer Machine, is one of the most valuable 
adjuncts to the perfection of the various kinds 
of laces and embroideries of which we speak. 
(See illustration Page 42.) 



41 




-^ ^ 



%vii^^n^. 






wit* . 













^-* 




Hedebo Embroidery 



Richelieu Lace 



This kind of lace, strong, simple and elegant 
in style, is being used in great profusion to 
trim underwear as well as household linen. 
When made with silk it is splendidly eflfective 
for covers, curtains, collars, jabots, etc. 

The engraving illustrating the following 



cloth is now ready for the embroidery frame. 
When using batiste or similar material, thread 
the machine with No. no thread or No. 70 
D. M. C, use a No. 00 needle and medium 
tensions. 

The first thing to be done is to follow the 




Figure 1 



instructions (Fig. i) is, as you see, a yoke for a 
chemise and may be useful to you should you 
desire to take advantage of the design. 

Place the batiste or other material to be used 
for the work upon the pattern and stamp its 
outline as shown on the side marked A. The 



outline of the design with ordinary machine 
stitching. (See Fig. i, B.) This is done to 
avoid excessive ravelling when the cloth is cut 
out later and also to form a foundation for the 
groundwork stitches. 

Cut the cloth from one of the spaces that 



43 



are to be filled with lace stitches and embroider 
therein the various stitches to be used, as was 
done with the Renaissance lace. As soon as 
this is done, cut the goods from the next figure 
and embroider this in the same way, repeating 
the operation until there are no open spaces 
left in the frame. 

The centres of the flowers may be filled with 
the simplest of lace stitches if desired, or with 
a spider-web, according to the requirements of 
the design. Now proceed to cord the edges of 
the various figures composing the pattern. 
Use same size needle and thread for all the 
work. 



only difference being that no braids are 
used and the under tension should be consid- 
erably tightened. You have probably noticed 
that this kind of lace as well as the manner in 
which it is made is the same as the Renais- 
sance, except that no braid is used. The differ- 
ence between the two laces chiefly consists in 
the groundwork, or mesh, which in the Riche- 
lieu lace is composed almost entirely of the web 
and picot stitches, with a few of the other 
lace stitches filling in the openwork spaces of 
the flowers. 

Figure 2 illustrates a fragment of one of the 
rich panels that form part of the decorations 




Figure 2 



The object of this final step in the work is 
to accentuate the outline, throwing it into 
strong relief, as well as to cover the needle 
holes. This also serves to give the lace the 
neat, uniform appearance it ought to have. 
Tighten the under tension. The machine is 
now ready for the cording, and for this .select 
a four-strand cord. (See Fig. i. D.) These 
instructions carefully followed will enable you 
without difficulty to execute the embroidery 
of the chemise yoke. 

Always stamp the design on goods, do not 
trace it. Follow the same instructions given 
heretofore regarding the other laces, the 



in a sho]) of the Singer Sewing Machine Co. 
at Madrid, in Spain. You will notice in the 
reproduction that this bit of panel contains a 
pretty zig-zag border, this handsome effect 
being obtained by making alternating diagonal 
bands of lace and cloth. That is, one band 
worked in lace stitch and the other of the 
material used for the groundwork of the lace, 
outlined with a cord. 

As an example of the many combinations 
that may be made with the dift'erent kinds of 
needlework, embracing the various kinds, note 
Fig. 3, showing part of a handsome table 
scarf, of undeniable beauty, even if only 



44 



judged by the illustration. This is made with 
linen crepe, trimmed with Richelieu lace. The 
pattern consists of a well arranged festoon of 
leaves, the veining in these is done in eyelet 
embroidery. This pattern is finished in long. 



There is no lace the making of which offers 
any serious obstacle to the Singer Sewing 
Machine. This mechanical medium, hereto- 
fore only used for making clothing, will pro- 
duce within the hoops of an embroidery frame 




Figure 3 



curved leaves filled with lace stitches, which 
spring from the main branch. The material 
forming the groundwork is embroidered with 
white silk daisies in satin stitch, giving a dam- 
ask-like eflfect. 



the most exquisite lace work, and does it with 
incredible rapidity. We propose to convince 
you of this by describing the finest laces, in- 
volving the most subtle artifice in their making. 



Point Venise 



We must agree that all laces, with a very 
few exceptions, are exquisitely tasteful and 
supremely elegant, if one only knows how to 
select the design and to apply the lace in its 
proper place. 



chine is used for making it. To illustrate the 
description of how this lace is made we use 
one of the Point Venise collars exhibited at a 
Singer shop. It shows the most beautiful de- 
sign and perfect execution of any there, and 




Figure i 



Point Venise designs are very beautiful, the 
workmanship very dainty and the lace admits of 
wonders in the w^ay of execution ; all of which 
is readily realized when a Singer Sewing Ma- 



the illustrations herewith are photographic 
reproductions of it. 

In Fig. I is shown part of the collar, three- 
fifths natural size, which will enable you to 



46 



appreciate the greater part of the lace stitches 
and otiier work contained in it, and we shall 
refer to this illustration as we describe the 
making of the lace. 

Stamp the design on very fine firm material, 
then put in embroidery frame with the care 
necessary in handling this class of goods. Put 
a No. oo needle in the machine. Outline the 
design with two rows of fine stitching, close 
together; use No. no thread. For making the 
lace stitches use No. 150 thread. It is best to 
begin with the lace stitches that form the 
flowers (or scrolls, as the case may be), care- 



sign you have already worked will not lose its 
shape. 

A very effective and easy stitch for the back- 
ground is the picot stitch. After this ground- 
work stitch has been put in, a cord must be 
basted all around the design, right on the 
two rows of outlining you made at the begin- 
ning. In basting the cord on, put a stitch over 
and back on either side of the cord, just close 
enough to keep it in place. After the cord has 
been basted on, cover with a fine close stitch, 
as you have been previously instructed. 

You will notice that some of the edges of 




Figure 2 



fully cutting away the material in one leaf 
only at a time, then the next one and so on. 
In cutting the material away, keep as close to 
the outlining as possible, without cutting the 
stitches. After all the lace stitches have been 
put in as much of the design as you have in 
the frame, begin to cut away the material that 
is left or, in other words, the background, and 
put in what is called the groundwork or foun- 
dation stitch. 

In doing this a very little of the material 
must be cut awav at one time, so that the dc- 



the scrolls and flowers are made heavier than 
the others ; to obtain this efifect, use a 4-strand 
cord for the heavy edges, a 2-strand cord or 
No. 12 thread for the fine edges. Use Batten- 
berg rings when required, choosing the sizes 
suitable for the spaces where they are to go. 

After the work is entirely finished stretch it 
tightly and evenly on a wooden frame, tacking 
close enough together to keep it perfectly 
smooth and firm. When this is done, rest the 
four corners of the frame on four flat-irons 
or blocks to raise it from the table ; take a 



47 



basin of clean cold water with two tablespoon- side edge of the design, close to the covered 

fills of gum arabic thoroughly mixed with it,' cord. 

wet the whole thing, using a clean cloth. Do Fig. 2 sho\Vs an exact reproduction of one 

not remove from the frame until it is quite half of the collar we have just described, that 

dry, then cut away the material from the out- you may copy it if desired. 





Shaded En^broiderv (Fruit). Photographic reproduction of actual work done on a Singer Familv 

Sewing Machine without special attachments. 



Renaissance Lace 



There is little that need be said of this well Prepare the machine with No. no thread, a 

known and much used lace, as we are all fa- No. o needle, and have both tensions alike 




Figure I 

miliar with it as a trimming for napery, bed- and adjusted to suit the material upon which 
sets, curtains and numberless other objects of the lace is to be made, which is generally or- 
household use. ga'^lie or tine linen. 



49 



The accompanying illustration in this lesson 
(Fig. I ) shows a conventional wild rose pat- 
tern, and in order that you may the more easily 
understand the description we show the be- 
ginning of the work in some of these roses, 
wdiile others are shown finished. 

Having selected the design that is to serve 
for the lace, stamp on the goods the outlines 
to be covered with the Battenberg braid only. 
Use No. o needle and Xo. no thread for sew- 



curves being taken in when the in?ide edge of 
the braid is stitched down. 

Next, begin to cut away the cloth from the 
inside of a petal. \\'hen putting in the different 
stitches make your foundation lines run with 
the warp of the material and this will keep 
your design straight. When you begin to make 
the stitches, fasten your thread firmly to the 
inside edge of the braid by taking two or three 
small stitches, but do not put any unnecessary 




Fiffure 2 



ing braid on the design, and for making stitches 
a B needle and Xo. 400 Petit Moulin in bob- 
bin and No. 300 I'etit Moulin on top of ma- 
chine. Have a medium tension. Put the 
material firmly in the hoop, drawing it per- 
fectly straight, then proceed to sew on the 
braid over all the design that is in the hoop. 
To do this, sew the outside edge of the braid 
on first, making a fairly long stitch through 
the open edge of the braid, the fulness at the 



^titches in the edge of the braid as it gives the 
work a clumsy appearance. In large spaces, 
cut only a part of the cloth away at a time, 
to prevent the work getting out of shape. Use 
a Battenberg ring for the center of the roses. 
It is not necessary to iron the work while 
making. As each hoopful of the work is fin- 
ished, the edges of the braid, etc.. should be 
gone over with a firm close stitch, making a 
clean finish. 



50 



The rest of the work, such as thickening tiie 
C(jr(l, making spider-webs, diagonals and knots, 
etc., should now be done in accordance with 
the design selected. It is not believed that you 
will find the least difficulty in making these 
lace stitches ; although there are many of them, 
there is nothing that you do not already know 
or can cop_\-. You will probably succeed in dis- 
covering new combinations suggested by your 
own good taste. 

The cloth should he cut away as fast as an 



Xow cut awa}- the cloth between the roses 
and fill the space with picot, webs or any other 
ground stitch, according to the design. Con- 
tinue until you have finished all of the pattern 
found within the frame that you can. 

When this lace is finished it should be 
placed upon a stretcher especially made for 
this purpose. While on the stretcher, brush 
the wrong side of the lace lightly with a very 
weak solution of gum arable. Do not iron it. 

As a finishefl sample of this lace see Fig. 2. 




Figure 3 



open space is needed, but not before the last 
space is completely finished. 

When a rose is finished make a ring of 
stitches around the center, having it as large 
as the size of the flower will permit. Cut 
tlie cloth away for the center of this ring and 
fill in with a web or star, which, as you will 
see by the illustration, you already know how 
to do. These are formed, as you know, of 
threads disposed like rays, placed at an equal 
distance from each other, on which the weaving 
or darning stitch, already described, is worked. 



This is a magnificent tray cloth, emijroidereil 
in silk upon satin. Xo. 3 is a sijecimen of a 
panel. 

This panel was embroidered with thread on 
nainsook. You should notice that all of the 
cloth not cut away is embroidered in Art 
Stitch. All the edges of the pattern have been 
corded. The lace stitches used in making this 
lace are the same ones shown in the lesson in 
"I'irst Openwork Stitches," therefore you may 
select from those illustrations whatever 
stitches seem best fitted to your work. 



SI 



English Point 



Who does not know this beautiful lace? Jn 
what center of learning dedicated to women, 
from the simplest school to the most fashion- 
able college, is the making of this lace not 
taught? And what one of you, since earliest 
childhood, has failed to see it used in the 
adornment of skirts, bodices, aprons, ties. 



have represented ! Happily in order to possess 
a gown of this lace to-day neither inexhaust- 
ible patience nor great fortune is needed. Xor 
are we struck with wonder when we are per- 
mitted to look upon many square yards of this 
lace, however admirably executed. The Singer 
Sewing Machine has worked the miracle. 




Fissure i 



collars and a thousand other articles of per- 
sonal adornment ? 

How wonderstruck our grandmothers would 
have been if they could but have seen us wear- 
ing a dress entirely composed of lace. What 
a prodigy of patience ! What capital it would 



At the present time what most commands 
our admiration of lace is the artistic good 
taste displayed in the design and the beautiful 
arrangement of the openwork stitches. If 
there remain anything incredible about this 
lace, it is that there should still be people will- 



52 



ing to undertake the execution by hand of a 
comparatively large jiiece of lace, knowing 
that their patience will be worn out long before 
it is finished. 

The tedium of hand embroidery has been 
converted by this new method of lace making 
into a stimulus to begin a new piece of work 
almost before the last, begun but a few days 
before, has been finished. There are some who 
even make the \okes of their chemises of 
English Point ! 



when done by hand, and that it will stand 
much rougher treatment in the laundry. 

The seven accompanying illustrations will 
help to make my description of this lace more 
lucid and concise and, while helping you to 
grasp the details, will enable you to appreciate 
the simplicity and richness of the work. 

Fig. I illustrates a design that may serve 
you in making a handsome tie. which you 
could have ready to wear within a very few 
hours. 




One lady, before she took up the study of 
machine embroidery, was positively certain 
that it would not be possible to e.xecute em- 
broidery by this mechanical process that would 
compare with hand work either in beauty or 
strength. She has since learned the Singer 
Sewing Machine method and become an en- 
thusiast. She now declares that not only is 
the machine-made lace and embroidery 
stronger and more exact, but that the wrong 
side of the work is much better finished than 



Select a fine, round mesh, double-thread net. 
Single-thread, square mesh net will not do. 
This work may be done with silk, if desired, 
according to its object, but it is better, and 
even more appropriate to work it with thread. 
Xo. no thread is best for basting braid on 
and No. 150 thread for making stitches. Use 
No. 00 needle and medium tensions. Stamp 
the design on the net and stitch the braid on 
in the same manner as for Renaissance Lace. 

Never baste braid on before putting the 



53 



work in the hoop, the only correct way to put 
the net in the hoop is for one person to hold it 
tightly, smoothly, and firmly over the larger 
hoop, while another person puts the smaller 
hoop in place. Braid should be put on exactly 
as described in Renaissance Lace. After 
stitches in petals (on net) are done, the inside 
edge of the braid should be gone over like fine 
cording to fasten it firmly on the net. 

Some designs call for two or more kinds of 
braid, producing a richer effect in some of the 
figures. 



These openwork stitches may be varied to suit 
the fancy of the worker, and much good taste 
can be shown in their selection. \\'e would, 
however, suggest that the closer stitches be 
made to alternate with the more open ones, 
as this gives a better appearance to the 
lace and tends to make the figures in the 
pattern stand out more clearly. After you 
have filled in the leaves, flowers, etc.. with 
the lace stitches desired, cut out the net along 
the outer edge of the braid : this is what we 
might call the foundation of the various fisr- 




Figure 3 



Extreme care should be taken to (Iraw the 
net smoothly and evenly over the larger hoop 
before pressing in the smaller one, because 
any attempt to stretch the net into position 
after the hoops are closed will result in tear- 
ing it. 

Place the embroidery frame on the machine 
and after the braid is put on proceed to em- 
broider the openwork stitches on the net. 



ures. (See Fig. i. A.) This cutting should 
be done as closely as possible to the stitched 
edge of the braid. The open space thus left 
should be crossed with lines of thread form- 
ing spider-webs (B) or just a plain star (C), 
according to the size of the space to be filled 
and the requirements of the pattern. The 
lines forming the picot stitch (D D) should 
be made coarser bv stitching over them, back- 



54 



wards and forwards, in order to make them 
stronger, and it is while doing this that the 
tiny loops characteristic of this stitch should 
be formed (B D). Begin by making a line 
heavier by covering the thread, and at about 
the middle make three or four independent 
stitches, as though you were about to make 



ing the latter work. Do not remove the stiletto 
until you have taken a stitcli or two ; this is 
necessary to avoid any danger of the loop be- 
coming entangled with the bobbin. 

If you desire to finish the edge with a nar- 
row lace, put this on the outside edge of the 
braid as you proceed with the work, covering it 




Figure 4 

another line at right angles from the first. Take as you would cord. This will greatly add to 

a fine embroidery stiletto in the left hand and the beauty and eft'ectiveness of the work. (See 

with it hold back the stitches just made, so as Fig. i, E.) 

to form a loop, while bringing the needle back Besides the illustration used to assist in 

to the thread you have been covering, continu- describing how this lace is made, you will find 



55 



herein several other illustrations, reproducing the filet stitches, forming the groundwork, 

finished pieces of this popular lace. and the picot stitch, giving it the elegant and 

Fig. 2 represents a table-cover of exquisite dainty appearance that vou will readilv appre- 




Figure 5 

workmanship ; Xo. 3 shows a very handsome ciate in the illustration. Fig. 5 represents a 

tray cloth. On both of these pieces the em- section of a panel. 

broidery is done with cotton thread on linen. Fig. 6 is a picture showing the dainty head 

Fig. 4 shows a lovely centerpiece. of a young girl, embroidered in colors, which 




Figure 6 



You will note that in this jjiece the English appears from between a pair of English Point 
Point has been happily combined with one of lace curtains; an odd fancy. 



Duchess Lace 



Duchess Lace is the most modish of all 
laces; therefore, it seems unnecessary to say 
that the Singer Sewing Machine, once having 
invatled the territory of embroidery and fine 
needlework, immediately proceeded to prove 
that its use was the simplest and most rapid 
method of making Duchess Lace, as well as 
the most rational way to attain perfection in 
its manufacture. 

]\Iuch of the lace now sold as Duchess Point 
is simply an imitation — beautifully made, 
thanks to the exquisitely dainty lace braids 
now sold — of a very old pattern of Brussels 
Point, made by hand with infinite patience by 
means of a system of small bobbins. 

You are undoubtedly familiar with this fa- 
mous lace, or at least with its imitation, and 
will notice that in the applique of lace braids 
on net, the various stitches and general design 
it closely resembles English Point. The Duch- 
ess Lace having some modifications tending to 
increase its beaut)- and richness, may be con- 
sidered as an English Point brouglit to a high 
state of perfection. 

It requires a special design, composed of 
prettily formed flowers and small leaves joined 
by delicately curved stems, as shown in Fig. i. 
upon which we shall base our instructions. 
The lace is made by applying lace braids to 
net, as described in the lesson on English Point. 

For outlining design and sewing on braid 
use No. no thread and No. oo needle; for 
stitches on the net, No. 150 thread is used. 
I'ut plain braid on first (the design is not out- 
lined where the braid goes ) go over outside 
edge like fine cording with No. no thread, 
then put on the medallion or waved braid and 
go all around the inside of both braids like a 
fine cording, this will hold it firmly on the net, 
then begin on the flowers making stems first, 
using a very fine cord. .A.fter that, work your 



stitches on the net, going around each leaf or 
flower with No. 12 thread and covering it like 
a cording. After center of figure is finished, 
cut out the net between the braid and put in 
stitches, then cord all around. 

As you will see in the illustration, the design 
consists of large medallions, showing the net 
ground, on which small sprays of flowers are 
fastened, in imitation of the Brussels lace pat- 
tern. The flower design should be outlined 
with plain stitching and then corded, as des- 
cribed in the article on Brussels lace. 

The outside edge of the leaves that surround 
the medallion, (see B, Fig. i), should be cov- 
ered with a very fine cord, in imitation of the 
heavy thread shown in the real lace. 

If you wish to obtain a really perfect im- 
itation of this lace, having the finished work 
soft and pliable, use only the best materials, 
buying the finest Duchess braid procurable. 

When the flowers in the pattern are large 
enough to permit of it, they should be made of 
fine waved braid. When the leaves are larger, 
use the straight wide braid, joining the edges 
if possible, but if the design show a space in 
the center of the leaves, this should be filled 
with a cross-stitch, as shown in D. The stitches 
in this lace are very simple, and it is advisable 
simply to use the filet, cross-stitch and picot; 
the last having tiny, independent loops, as de- 
scribed in English Point. 

This rich lace, which the Singer Sewing 
^lachine has made so easy to produce, is much 
used to trim blouses, bed-spreads, ladies' un- 
derwear, collars, christening robes and even 
gowns. 

Fig. 2 shows an article that, because of its 
size, represents considerable time and labor. 

The work on this spread is the imitation 
Duchess Lace that has been the subject of this 
lesson. It is made with Battenberg braid 



57 



applied in the sliape of medallions, these thread was used, the work being done on an 
being in two different sizes. No. 500 cotton organdie foundation. 





Figure 2 

The pattern forms a border scalloped on the one in each corner, and one on each side. 

inside edge. In the center of the spread there Because of the large size of this piece of 

is a very large medallion, with a plain space lace, and in order to do justice to its exquisite 

for the monogram. Distributed along the workmanship, we have reproduced here only 

center of the spread, between the border and one corner. The three other corners are the 

the medallion, are eight lace bow-knots, same as the one shown. 



59 



Brussels Lace 



Here is one of those laces whose fineness ship may he executed by this new system of 

and delicacy make it seem incredible that it embroidery without worry or difficulty. A 

should have been produced I)y a Singer specimen of this beautiful work is shown in 

Sewing Machine. Nevertheless, the instruc- Fig. 2. which illustrates part of a Spanish lace 




Figure i 



tions that follow will soon convince you that 
with the aid of this machine nothing can be 
easier or more quickly done. Your experience 
in making this lace will show how this and 
other fine laces of the most delicate workman- 



mantilla. The illustration hardly does justice 
to the exquisite detail in this work. Fig. i 
illustrates a table-cover made of this lace, em- 
broidered in cotton, to which we shall refer in 
the brief explanations required by this work. 



60 



A fine double-thread, round mesh net is used recommended in the former lessons for lace 
in making this lace. Stamp the pattern on the making where this same material was em- 
net. Have the tensions on the machine slightly ployed. 




Figure 2 

loose so that neither will draw, and then pro- Place on the machine Xo. 150 thread for 

ceed to cover every line in the design with the the openwork stitches and a Xo. 00 needle 




Figure 3 
machine stitching, using No. no thread, and have the tensions slightly loose. This 
When placing the net in the embroidery frame work simply requires that each tiny leaf, stem 
you will have to observe all the precautions etc. shown in the design be covered with 



61 



small machine stitches, or that the larger 
spaces be filled in with short interlaced 
stitches in the holes of the net. These stitches 
need not be very heavy nor overlap, but they 
should always lie close together and follow 
the direction of each figure, especially in the 
case of scrolls or leaves. 



many uses to which this lace may be put, as 
you have probably seen it innumerable times, 
particularly in fine handkerchiefs, sash cur- 
tains, etc. When the pattern is relatively' large, 
a very fine lace braid, such as is employed in 
making English point lace, may be used to 
outline the flowers, medallions, etc. If this 




Figure 4 



The outlines should be finisheil with a tin_\-. 
one-strand cord, giving firmness to the straight 
or scalloped edges. If greater variety be de- 
sired, any band or ribbon motif appearing in 
the pattern may also be outlined with this 
cord. 

It hardly seems necessary to describe the 



be used, omit the corded edge referred to be- 
fore. If you wish you may embroider open- 
work centres in the flowers using the finer 
lace stitches, as is shown in Fig. 4, which illus- 
trates an unfinished piece of work held by the 
embroidery hoops. 

\\'hen this lace is finished it should be placed 



62 




Figure 5 



upon a stretcher especially made for this pur- 
pose. While on the stretcher brush the wrong 
side of the lace lightly with a very weak solu- 
tion of gum arable and water ; allow this to 
dry. 

The machine-made laces have acquired con- 
siderable importance in ecclesiastical decora- 
tions, being used for altar-cloths, albs, etc. 
When used in this way a very fine, com- 
plicated design is generally selected. Man\- 
of the hand-made pieces give evidence of in- 
exhaustible patience, only explained by the 
tenacious persistence of some devotee who 
has kept a vow at the cost of her eyesight. 



Fortunately the tedious phase of this work 
has been eliminatetl by the rapidity with which 
it may be done on the Singer Sewing Alachine. 
Many of the convents and asylums abroad have 
grasped this fact and the more skilled nuns 
have been instructed in this system of em- 
broidery. In Fig. 3 is illustrated the t^r^t 
piece of work done by one of these nuns after 
a few lessons. 

In those finished pieces of work illus- 
trated in these lessons, it is proposed to pre- 
sent reproductions of the most select examples 
of machine embroidery. They are marvels of 
execution, elegant in design and correct in 
style. 




Novelty Lace 



This is what they have called it. If 
any of you wish to give it another name you 
may, in all freedom and without fear of cor- 
rection. No one knows who named it, but it 
is still called Novelty Lace without having 
aroused a protest or claim. It is a combina- 
tion formed of some of the features of English 
point and Richelieu with a modicum of ap- 
plique on net, and has been very happily re- 
ceived. 



illustration was embroidered on white in yel- 
lowish silk, producing an elegant and delicate 
cream colored effect. 

The materials used for making this lace are 
silk batiste and a very fine round mesh net. 

Stamp the design upon the batiste. Then 
place the net under the batiste, baste them 
together, and span the two materials with the 
embroidery hoops. 

Whenever two materials are used, they 




This lace is largely used in toilet furnishings, 
spreads, eider-down quilt covers, etc. Used 
in this connection it is both exquisite and rich, 
but it is considered most attractive as a trim- 
ming for ladies' dresses. Nothing more mag- 
nificent nor handsomer can be imagined if the 
embroiderer understands how to combine the 
shades of silk used in the lace so they shall 
harmonize with the color of the gown itself. 
The sample which serves for the accompanying 



should be basted smoothly and evenly together, 
not only around the outside of the goods, but 
also here and there through the center, before 
they are put into the hoops. 

The machine should be made ready with a 
No. oo needle and with medium tensions. 
Use No. no thread for tracing design, and 
No. 150 thread for stitches and cording. 

The work should be begun by basting the 
cord on the stems, making it firm, and then 



proceed to cut away the material, being care- 
ful to cover the outlines of the design twice 
with an ordinary machine stitch. { See B in 
the illustration.) 

Cut the batiste away from two or three of 
the petals of the flowers leaving the net on 
which some lace stitches should be worked, 
making them as fine as you possibly can, as 
shown in C and the other petals of the same 
shape. 

In the centre of the flowers you may either 
cut away the batiste and embroider the lace 
stitches on the remaining net, or if you prefer, 
fill this space with a spider-web, in that case 
cutting away the net as well as the batiste, as 
is shown in the different flowers in the sample 
accompanying these directions. Some of the 
flower petals may simply have for ground- 
work the batiste itself. 



Now proceed to fill in the groundwork, 
using the picot stitch described in English 
point. 

This stitch should be very open, and in 
order to preserve this appearance use an em- 
broidery stiletto to hold the different stitches 
apart where they cross each other, reinforcing 
them at those points by taking three or four 
stitches as in making an eyelet. 

The stems of the flowers are made of cord 
covered with fine close stitches. The leaves 
attached to these stems should be treated the 
same as the petals of the flowers, namely, al- 
ternating the openwork centres with those of 
batiste to suit your own fancy. 

Having finished the work thus described, 
proceed to outline the flowers, leaves and bor- 
ders of the lace with a four or five-strand cord. 



Point Lace 



This handsome lace is much used for trim- 
ming ladies' gowns and especially for trous- 
seaux and layettes. 

Stamp the pattern on the batiste; lay this 
on a piece of ecru net somewhat larger than 
the pattern itself, baste materials together care- 



pattern, in accordance with the oft repeated 
rule. In other words, the outline is to be gone 
over twice with the machine stitching because 
the lace does not have any foundation when 
finished, necessitating having the edges rein- 
forced. Now cut all the cloth awav from the 







,m 



>m 






Figure 



fully and span with the embroidery hoops. The 
machine should be prepared with a No. oo 
needle, No. 120 thread, and both upper and 
lower tensions should be medium. 

When making this lace (See Fig. i ) two 
rows of stitching should be used to outline the 



design, leaving the net alone. Use No. 150 
thread and begin to cover the net with a 
very fine lace stitch wherever indicated by the 
pattern. (See A. Fig. i.) This also applies 
to the small leaves and petals of the flowers. 
.After this work has been done in the entire 



67 



space embraced by the embroidery frame 
begin to cut away the net from what we shall 
call the groundwork of the design (B, Fig. I ), 
and as soon as it is cut away fill the ground- 
work with a picot stitch as ilescribed in the 
English point. 

These details having been carried out it is 
now only necessary to outline the design with 
cord, using a six-strand cord for this work. 



golden dream, may increase their happiness by 
adding to their trousseau a set of lingerie 
whose principle value and merit would consist 
in the fact that it is their own handiwork. All 
your embroideries may be due to your own 
labor and intelligence W'ithout any great effort 
nor the necessity of devoting unlimited time to 
their making. The bridal set alluded to com- 
prised an underskirt, chemise, nightgown. 




Fisrure 2 



Iron the work with the greatest care. The 
design for this lace shown here was copied 
from a rich and elegant bridal set of under- 
wear. Apart from its great merit, it is a 
demonstration of the convenience and utility 
of this system of machine embroidery, be- 
cause, with this rapid and efficacious method, 
the voting ladies who are about to realize their 



drawers and corset cover. In order to give you 
some idea of this work, the drawers are 
reproduced in Fig. 2 and the nightgown in 
I-^ig. 3. You will notice in the illustrations that 
the design consists of medallions of two dif- 
ferent sizes, joined together with smaller ones. 
All the pieces of the set are made of nainsook 
on which the embroiderv has been done. 



68 




Figure 3 



Cluny Lace 



As in the case of Brussels Lace, described 
ill the former lesson, round mesli net should 
be selected. The pattern should be stamped 
on the net. and the design stitched twice over 
all that is in the hoops. (See A. Fig. i.l 
Prepare the machine with a No. oo needle and 
No. 150 thread, having both tensions slightly 
loose. 



openwork design should be embroidered on 
the net itself, using a few stitches to indicate 
the central vein in the leaf. Around this, at 
an equal distance from the border, run a row 
of stitches covering the centre of the leaf with 
the stitching. In other leaves after outlining 
the central vein you may fill in the space be- 
tween the latter and the edge of the leaf with 




Figure i 



When placing the net in the embroidery 
hoops the same precautions should be observed 
as in making other laces, in order to obtain the 
tautness necessary without pulling the design 
out of shape. 

Begin by cutting the net away from the 
centre of a flower (B, Fig. i ) and fill the open- 
ing left with a web stitch with four symmetric- 
ally distributed knots. 

The small leaves, or petals, surrounding thi-' 



tiny embroidered knots placed in alternating 
holes in the net. No other embroidery will be 
necessary in these leaves. Surround the open- 
work centres of the flowers with a ring like 
the crocheted ones used in Battenburg, but 
without using cord as a foundation, the ring 
to be brought out into relief by stitches carried 
from the centre to its outer edge. The pattern 
contains other leaves which instead of being 
filled in with the web stitches are composed of 



small bars crossing from one edge to the 
other (C). After these bars are made, a 
thread should be carried across the centre, 
which is to be knotted on each bar, thus 
preserving an equal distance between them. 
The rings shown in this design serve as a 
groundwork or support for its other figures. 
They are made of cord with a knot in the 
center, the same as those shown in the netting 
or filet designs, but are smaller in size, as may 
be seen in the illustration. Finally, outline all 
the figures in the pattern with a four-strand 



Imagine the admiration won by an entire 
costume of this lace which was seen at a ball, 
worn by a young lady noted for her beauty. 
That which heightened the interest with which 
this young lady was regarded, who with at- 
tractive grace, increased the brilliancy of her 
charms by wearing so rich and original a gown, 
was the fact that the work thereon was all her 
own, the product of her own hands, and due 
to herself alone. She was heard to state this 
several times with great pride to her friends, 
who looked at her with admiration not un- 




Fieure 2 



cord, and having finished as much of the de- 
sign as the embroidery frame will hold at 
one time, cut the net groundwork out as closely 
to the corded edge as possible. For this pur- 
pose it is advisable to use a very fine pair of 
curved manicure scissors. In order to give 
you a better idea of the beauty of the collar, 
part of which is used as an example in Fig. i, 
it is reproduced in its entirety in Fig. 2. You 
may thus judge of the handsome effect it 
would produce in conjunction with a child's 
daintv dress. 



tinged in some cases by incredulity. She had 
taken a few lessons in making this lace on 
the Singer Sewing Machine, and credit for the 
successful result was no doubt partly due to 
her aptitude for the work and her intelligence 
and persistent application. 

We have cited this case with the object of 
stimulating to constancy in practice of machine 
embroidery, feeling certain that in every case 
a reasonable amount of application will ensure 
satisfactory results. 



71 



Hemstitching 



Probably there is nothing more used in or- 
namental needlework for home use than hem- 
stitching: in this, as in every other kind of 
sewing, the Singer machine takes first place. 
What a difference from the old time tedious, 
eye-straining process of handwork, in which 
our grandmothers took such pride, to the de- 
lightful pastime of accomplishing so much in 
an amazing!}' short space of time on the Singer 
machine. 

The machine is to be adjusted as previously 
described for embroidery. 

For a plain hemstitched hem draw several 
threads, six or more, according to the witlth 
you want the space to be at the top of the 
hem; it should not be too wide, as in that case 
the threads would not stay in place. Crease 
the first turn of the hem evenly, then fold it 
over exactly on a line with the lowest or first 
thread drawn, baste with rather short stitches 
far enough away from the top of the hem not 
to be caught by the needle while hemming. 
Have the tension medium tight ; the needle 
and thread must be chosen to suit the texture 
of the material. For instance, when hemstitch- 
ing a sheer material like Persian lawn use 
No. 200 thread and a Xo. 00 needle. For this 
work do not use an embroidery hoop, as that 
requires sewing muslin on the edge of the hem, 
which would leave a mark. Have the right side 
of the work uppermost, and place the top of 
the hem directly under the needle. Picginning 
at one extreme end, take one or two tiny 
stitches in the same place to fasten the thread, 
holding the hem down on the machine per- 
fectly smooth and rather tight with the thumb 
and forefinger of the left hand, the thumb 



on the near side of the needle, the finger on 
the far side ; with the right hand take hold of 
the work so that you can move it as you wish. 

Take the first stitch forward, the second 
stitch back in the drawn threads, (this is to 
hold the threads in place), then one stitch in 
the hem. When you reach the end of the hem. 
take one or two fine stitches to fasten. Re- 
member, one stitch forward, one stitch back 
in the threads, one stitch in hem. 

To make the hem more elaborate, the stitch 
called the zigzag is very effective : it can l)e 
used as an insertion as well as for a hem. In 
either case the manner of working is the same, 
but the threads arc drawn differently for an 
insertion. 

It is not necessary to count the threads for 
an insertion, measuring the goods is more ac- 
curate, as the threads of the warp are apt to 
be a little heavier than the woof. Pleasure 
the distance you desire the insertion to be from 
the hem and draw the first thread, then draw 
as many threads as you want the insertion to 
be wide. 

Now suppose you are going to make a very 
elaborate doylie with a hemstitched hem, a zig- 
zag insertion and embroidery in the center. 
Draw one thread to mark the width of your 
hem on all four sides, draw two threads to 
mark the width of the insertion, then have 
}our embroidery design stamped and make 
that first. If the threads are not drawn first 
there is no certainty that the embroidery will 
be straight. \Mien the embroidery is com- 
jjleted. draw the rest of the threads for the 
insertion. After the threads are drawn. }dii 
will find that you have an open square at each 



72 



one of the four corners ; these may be filled 
in, after the zigzag insertion is made, with 
any stitch which your fancy suggests. 

The threads being drawn, span the work in 
the frame, draw tight and have the drawn 
threads perfectly straight. To make the zig- 
zag: After the work is placed on the machine 
take two or three fine stitches to fasten the 
threads ; begin about % of an inch from the 
material and catch a cluster of threads, about 



caught and proceed in this manner until the 
border is finished. 

Before you change your work in the hoop, 
while you are making the border put what- 
ever stitch you decide upon in the corner after 
the zigzag is done on either side. When you 
have made the corner stitch, cord the two out- 
side edges of the corner with a very fine cord 
to make it firm. 

When the border is finished press the work 



1 



f( 



I fC^liii'miijmmn^vyi'r 







.1..,, 



/l.fcUki*»^*-»'^^*'******'*»^**»i*»*H4i».H»*4»»«»»»»i******J** 



A<ltl'l'W||.,>« 



Linen DoylJe 
Hemstitching, Drawn Work and Byzantine Lace. 



fourteen ^14), fasten together with three 
stitches, then work down three stitches on half 
of the cluster of threads first fastened to- 
gether ; this will bring you ys of an inch from 
material on the opposite side from which you 
started; catch seven (7) threads and fasten 
with three stitches to the half cluster of 
threads you are now on, work down three 
stitches on the seven ( 7 ) threads you last 



by pinning it at the extreme edges, right side 
down, on a padded table or board ; be sure 
that it is perfectly smooth and tight, then wet 
it with a cloth dipped in clean cold water. 
Leave it pinned down imtil it is thoroughly 
dry. Do not iron it. When it is dry take it 
up, straighten the edges, draw the rest of the 
threads and make your hem as already de- 
scribed — then iron the dovlie. 



73 



The making of hemstitched tucks is a Uttle 
more difficult than that of the hemstitched 
hem. Xot that the process of hemstitching is 
more difficult, for it is exacth- the same, but 
there is much more measuring where there 
are a number of tucks, and unless the meas- 
urements are accurate and the basting care- 
fully made the effect is spoiled. The dainty 



ing the work and hemstitching, as we said in 
the beginning, are the same as in making the 
hem. 

There is no end of effective combinations 
in lace insertion, or embroidery with hem- 
stitched tucks, as well as beading of any 
width desired. Ribbon may be used if it 
pleases one's fancy. In our illustration we 




Example of Hemstitching:, Tucking, etc. 



skirt shown in this page is a good illustration 
of this pretty work. 

Tucks and spaces must be carefully deter- 
mined and measured : after the threads are 
drawn, follow the instructions in the forego- 
ing article about basting a hem. 

Use a fine needle and thread for basting 
and take short stitches. The manner of hold- 



have shown a simple design of hemstitched 
tucks and lace, realizing that those using the 
Singer Sewing Machine can easily make more 
elaborate ones if they so desire. Any one 
who owns a Singer Sewing Machine is well 
equipped to undertake all varieties of needle- 
work. 



74 



Mexican Drawn-work 



KIRST F»ARX 



This work is frequently employed to ailorn 
napery and other household linen in general. 
It is also effective in scarfs, blouses and other 
articles of personal apparel when made of 
materials that permit the drawing out of 
threads. The embroidery is done on the re- 
maining threads, running one way of the 



shown in 1^'ig. 2. Use Xo. o needle and Xo. 
1 10 thread. 

Once the threads are drawn, great care 
should be taken to place the work properly in 
the embroidery hoops. The goods must be 
kept perfectly straight (])articularly if the 
work is being done on a fine linen) and the 




kVA*JtAMA.VA*'>A.VA*/A*A<LV«ViVVVt'%<V4^^^^^ 



mmmamutfrnm 



mm 





Figure i 



goods, after the threads running in the op- 
posite direction have been drawn out. We 
shall first describe the work done in crosswise 
strips like an insertion, which is the form in 
which it usually appears. Let us select, for 
instance, a suitable towelling, drawing the 
threads wherever we think it advisable to 
place the insertion, so that when this part of 
the work is done it will have the appearance 



parallel edges of the drawn band must be kept 
perfectly even with the thread of the goods. 

In doing the hemstitching use No. no 
thread. No. o needle and have the tensions 
the same as described in the article on Filet 
Embroidery. 

By carefully examining Fig. 2, you will 
readily see the various stages of this work, 
from beginning to end. 



75 



Begin the work by forming tlie lienistitclied 
bars shown in the engraving marked B, using 
from eight to ten threads to form each bar. 
The greatest care should be taken to have 
exactly the same number of threads in each 
bar. This is particularly so when you begin 
work along the second margin of the open- 
work band, when the same group of threads 
must be fastened together each time, as shown 
in the illustration. 

Start at the middle of the insertion and 
gather the bars just formed into groups of six 
bars each, as shown in the section of the 
illustration marked C, holding them firmly by 
means of several stitches. Allow the thread to 
form a fine twisted cord along the center of 
the bars, connecting the groups of six, as 
shown from C to D. Going back to the first 
group of hemstitch bars, do the work shown 
in D, drawing together three bars and holding 
them together with a heavy knot placed about 
a third of the way between the center of the 
bar and the outer edge; then carry the cord 
along to the next immediate three bars to lie 
held together in the same manner. 

From this last point pass to the center of 
the next group of bars, designated as E, and 
there fastening the cord, proceed to the first 
third of the next following group, designated 
as F, which, as you will note, is connected 
with the opposite side of group D. In group 
F do the same work already done in group D : 
then pass on to group G ; thus forming a wav- 
ing line of cord to the end of the drawn-work 
band. Now turn back and repeat this work on 
the opposite side of the centra! knot. If we 
return to the first group and repeat this oper- 
ation, placing the second series of knots nearer 
the margin of the insertion and, always 
preserving the undulating lines of the cord, 
make a raised knot on every two bars instead 
of separating them into groups of three as at 
first, and. finally, if we form a raised knot on 
each separate bar, we shall have alternating 
groups as shown in F and E. We shall now 
take up the part of the design shown in group 
G, \vhich is a closely woven stitch not unlike 
darning, because up to the present the un- 
dulating lines have merely been drawn together 
in the center of group E. 

As we have described this design as begin- 




Figure : 



-6 



iiing with tliL' line of two knots in the center 
and ending with the Hne of four knots near 
the margin of the work, it would be 
well to state here that this method may be 
reversed so as to begin the design with the 
four outer knots and end it with the two 
center ones. 

As it is most important to keep the groups 
of bars at an equal distance from each other, 
to preserve the evenness of the work, so that 
group F shall not be pulled out of shape, you 
may readily determine for yourself which 
side you would better begin the work, in order 
to judge best the distances. 

Group G : relating to the closely woven cen- 
tral part of the design formed on the three 
undulating lines of cord that meet there, and 
the bars, which should be combined in groups 
of three. This woven stitch is made by laying 
the three cords side bv side, being careful to 



keep them flat, and covering them with short 
stitches. In order to do this, a stitch must be 
made immediately in front of the first cord, 
between the first and second one, between the 
second and third one and directly after the 
third one. This same treatment should be given 
the groups of three bars. This finished stitch 
which suggests a woven surface, should cover 
the cords and bars so as to show the original 
undulating outline. Begin at the center of 
the figure and work half way up until the 
eight rays or starlike points have been com- 
pleted, as shown in the illustration. 

Fig. I shows the border of a silk scarf, 
embroidered in silk thread, from which the 
foregoing detail was taken, and contains other 
combinations and narrower bands of open- 
work, forming a very beautiful ensemble, 
which commands our admiration because of 
the elegance and precision of the work. 



SECOND F»ARX 



In the First Part of this article attention as insertions, anti 
was asked only to those designs adapted to use ing out threads r 



5 ******'*»>»H»l,,fr«f,T*f,|,Ti«MI»W*»T.fM»T»»|s»|lf,»ll»ti 




Figure 3 



which are formed by draw- 
unning only one way of the 
cloth, making an appropri- 
ate trimming for towels, 
scarfs, etc. But if this style 
of drawn-work is to be ap- 
plied to table-cloths, hand- 
kerchiefs and similar arti- 
cles, in which the open- 
work bands cross each 
other at right angles, the 
threads will have to be 
drawn out lengthwise of 
the material as well as 
crosswise. This also applies 
to those designs in which 
the openwork band is 
formed of various squares, 
as shown in the illustra- 
tions in this lesson. In both 
instances when two threads 
are drawn out of the ma- 
terial, one running length- 
wise and the other cross- 
wise, a small square open- 
ing is perceptible, which is 
equivalent to cutting out 
the cloth and working in 
the open space. But the 



77 







Figure 4 



method now under consideration and its ap- 
plication is so different from that described 
in the article "First Openwork Stitches." that 
it is worthy of a special description. 

Examine the work reproduced in Figure 3, 
which shows a corner of one of a much ad- 
mired traycloth. and you will at once under- 
stand that we are now considering an entirely 
different kind of work, although there is a 
strong resemblance between the two and the 
method of working is almost the same. Your 
own good sense will prove to you that it would 
be useless to undertake this work without 
having first mastered the details given in 
"First Openwork Stitches." 

The work illustrated in Fig. 4 has been so 
arranged that each stage of the embroidery is 
illustrated in a series of three squares. This 
will enable you to appreciate the consecutive 
details that have been superimposed thereon 
in order to bring the work to completion; 
therefore, if you will compare one line of 
these squares with the following one, you will 
easily distinguish the proper order in which 
the various stitches follow each other. 

Let US begin with the squares marked A, 
which show the material after the threads 
have been withdrawn in only one direction, 
leaving two parallel lines of perfect cloth be- 
tween the two drawn-work bands, which are of 
equal width. The cross-threads that have not 
yet been drawn should be cut along the edge 
marked B and at the corresponding edge on the 
other side, leaving at the outer edges two more 
bands of perfect material equally distant from 
each other, so as to form a perfect square. 
Remove the threads just cut. leaving open 
squares as shown in section C. The cloth now 
being ready for work, begin at D and draw a 
corded thread diagonally across the square to 
the opposite corner, wdiere the crossbands of 
cloth have formed a tiny solid square. Fasten 
the thread here with several stitches, taken 
diagonally from corner to corner. Repeat this 
operation in all the open squares found within 
the embroidery frame, always working diagon- 
ally and in the same direction. Return over the 
same ground already covered and repeat this 
operation in the two opposite corners of tiie 



78 




squares, giving them the appearance 
shown in E. The small linen squares 
formed b}- the cross-bands should also 
be covered with a cross-stitch. 

Square F. — Begin at the edge i and 
fasten the threads with one or two 
stitches, going from this point in 
a straight line to the center, where 
the retaining stitches should be re- 
peated; then pass on to 2, there form 
a small knot, taking up half the 
threads contained in the intersecting 
bands. Do the same with the balance 
of the threads, and carry the em- 
broidery thread to the center of the 
next square ; after fastening the 
threads there pass on to 3, always re- 
peating the tying together of the 
threads that compose the intersecting 
bands separating the open squares, as 
was done in 2 : go on to the center of 
the next square until you have reached 
4, and do not forget properly to place 
the retaining stitches at each point in- 
dicated. At 4 start at the beginning 
of the first inside line so as to come 
back over the ground just covered, 
passing over the centers and making 
the little knots in each half of the 
threads composing the intersecting 
bands, until the four threads shown in 
F between the original diagonally 
placed threads are completed. In or- 
der to finish this part of the work, as 
shown in G, simply repeat the process, 
filling in the other sides of the square 
as already explained. 

In order to complete this work as 
shown in the two remaining series of 
open squares consisting of three 
squares each, beginning with F, simply 
follow the instructions for Fig. 5 in 
the lesson on "First Openwork 
Stitches," as it is the same design. 
The embroidery in square H is the 
weaving stitch described in a former 
lesson. Here five of the radiating 
lines are gathered in at one time and, 
in the center, include the diagonal 
threads first placed within the square, 
which are covered with the weaving 



Figure 5 



79 






,e.|.SiSto.3>D'g.S'Cia<6.o,c,j-6<5.5iO'0*"'0'0'0<g'0'B<otS'0'gi 
<aio.ct5.o.u.g'e.5.t»i£'0'3,oi5.'" -.-.n'rioia-S'S'g-o'OtO'otg'nr 

ici>§iaio>oigia< 

lOISiatQlSlOtD- 






ig>DtO'Cig'6<6< 
idiDiOiD'O'O'Oi. 



itotO'S'?'? 



•Jio»o<n'L _ _ _ 

._^ _ ^ _ _ - 5. _ _-; - C.S,o.6.O'fl»«'6'0'6'9'0'Dr0.OI 

tdia<a'6id'Die<5<§>6>o>a<a>ata<iitd>o>a*6>6>6i^>D'Q'6'fi'g'0<a<g> 




,_,^ , ^ ^r -. ^ = V'?'^***^"«>*f 







Figure 6 







Figure 7 



stitch for one third of their lengtii, then freed, and one combinations and designs, and may 

the lateral lines alone being covered, then be used to trim any material from which 

again taken up, all live lines being covered threads can be extracted. 

with tlie weaving on the last third of their As an example of the results obtainable 

length, as in the beginning. from this work and of its many applications. 

This drawn-work lends itself to a thousand in Fig. 5 is shown a linen towel embroidered 



iiniiiiijiiiiiiiiiiinmuiiiiiiiiiBiim^^^ 

\mmmmwmm 




Figure 8 
81 



with cotton. Fig. 6 reproduces part of a panel ican drawn - work to-day, we insert here 

made entirely of drawn-work done on linen several pages of illustrations, showing the 

and embroidered with cotton thread. Fig. ; many ways in which the various designs may 

shows a beautiful scarf of the same work, in be applied, and have no doubt that they 

brocade embroidered with silk. will prove of interest to all who attempt this 

In view of the popularity enjoyed by Me.x- work. 



I Ifili/I 




IVim'U/Mri'i 




I fi 








« 



■A 



»^* 



i 




> 






»f 





-•*.»*' 






Figure 9 
82 




mwm 









Figure lo 



Figure ii 



Teneriffe Wheels 



This lace is most appropriate for trimming and the Teneriffe wheels are fastened to this, 

household linen, (such as a centerpiece, a bu- making a border. The wheels are made sep- 

reau scarf, napery, etc.) but its use has become arately, one at a time, and are afterwards fas- 

so general that many ladies use it to trim silk tened to the scarf with a very fine cord, as in 

or batiste blouses and even entire summer the case of any other lace. 




Figure i 



dresses. It is both elegant and economical, as 
it can be made with very little effort and at a 
trifling expense, the time consumed in doing 
the work by machine being much less than 
when done bv hand. 



The stitches and form of these wheels give 
the name to the lace. Made separately they 
are afterwards joined in groups, forming ro- 
settes, or in strips, to be used as insertion or 
an edging. .Sometimes large circles are made 





Figure 2 

You will note in the table scarf shown in 
Fig. 4, the greater part is taken up with Mex- 
ican drawn-work, which has already been de- 
scribed. The drawn-work forms the foundation 



Figure 3 

of the individual wheels, producing a very 
effective dress trimming. 

Take any ordinary cloth that is free from 
dressing (it will not show as it will all be cut 



84 



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away) and trace a circle on it, using, if pos- 
sible, a compass in order to insure greater 
accuracy. Cover the outline of this circle 
with two or three rows of stitching, then cut 
out the cloth. Now drive the needle through 
one of the lines of stitching at the edge of the 
circle, and after fastening the thread with sev- 
eral stitches, draw the thread straight across 
the circle, fastening it with several stitches at 
a point diametrically opposite to its starting 
point. Make one stitch back, or towards the 
outer circumference of the circle, then bring 
the thread back across the circular opening, 
beside the first thread and crossing this, as 
though you were about to make a spider-web. 
(See Fig. i.) Continue to fill the open circle 
with threads placed about a thirty-second of 
an inch apart until the entire circumference 
has been covered, making each thread across 
the others in the center, and fastening it with 
a stitch or two at the edge. The work now 
to be done makes it necessary that there should 
be an even number of these threads. 

In the middle, where the threads cross, make 
a small closed circle, iising the weaving stitch 
used for making the solid center in a spider- 
web. Divide the space between this solid 
center and the edge of the circle into three 
parts, and beginning at the third nearest the 
center, make a circle of thread formed by 
taking up the cross threads of the web in 



bunches of four; then pass on to the second 
third of the division (see Fig. 2) still continu- 
ing to take up just four threads each time, but 
taking two from each two preceding groups 
instead of the same four. Now make the cir- 
cle of thread at the point indicating the last 
third of the original division, taking up only 
two threads, one from each of every two pre- 
ceding groups. (See Fig. 3.) 

The wheels should now be entirely separated 
from the cloth. Do this by ravelling out the 
latter, so as not to break any of the stitches 
made in the beginning between the cross 
threads, as these form an edge of tiny loops, 
by which the wheels may be fastened together. 

When this is done place the wheels on the 
material in any position you please, being care- 
ful to have each wheel smooth ; then stitch 
around twice, as you do in outlining the de- 
sign : cut the cloth away from the back and 
put a fine cord around each wheel, covering 
it, as you have been already instructed. A 
most elaborate and beautiful border can be 
made of Tenerilife wheels, placed close to- 
gether and corded, the outside edge can be 
cut away the same as a scallop. 

By varying the number of threads taken up 
when making the stitched circles around the 
wheel and the arrangement of the groups of 
thread, a variety of patterns may be worked 
out. 




Velvet Applique. 



Photographic reproduction of actual work done on a Singer Family Sewing 
Machine without special attachments. 



Velvet Applique 



Having finished the description of the larger 
number of laces that were thought to be of 
interest, we will now take up a new series of 
embroidery. There are very many of these, 
but we shall explain only the best known, the 



face down, then cloth or satin on top of it, face 
down, then the crinoline with the stamped 
design uppermost, on top of all. See that the 
materials are perfectly smooth and even, and 
then tack them to the table by driving a pin 




Figure i 



most practicable and best adapted to general 
use. Tkis one is the work known as ap- 
plique, and we shall describe the easiest way 
to execute it with the invaluable aid of the 
Singer Sewing Machine. 

The first operation is to stamp the design on 
crinoline. Then lav the velvet on a table. 



through them at each corner and along the 
sides at equal distances to keep the various 
materials tight. Baste the materials together, 
keeping on the lines of the design so that no 
marks will be left on the velvet. For basting 
use a curved needle, Xo. 6 Milliners and No. 
40 thread. (To curve needle, heat and bend 



87 




Figure 2 



with two pairs of pliers while hot.) The work 
is now ready for the machine, as no em- 
broidery hoops are needed for this work. 

Trace the design with two rows of stitching, 
using No. o needle and No. oo silk, of a color 
to match the velvet. After the design has 
been traced, turn the work over, which will 
bring velvet on top, showing design traced in 
silk, as plainly as it was stamped and traced 
on the crinoline. The tracing must be done 
in very fine stitching, the second row close to 
the first one, but not on it ; this is to hold the 
velvet that forms the design when the rest is 
cut away. When the tracing is finished re- 
move the bastings. 

Now begin to cut the velvet away from the 
design just a hair's breadth outside the tracing. 
Use manicure scissors with long, sharp points. 
Be very careful not to cut the material under 
the velvet and only to cut the velvet away from 
the spaces. The velvet forms the design. If 
you cut away any of the design, the work will 
be spoiled. Do not cut away too much at once. 
Put the work on the machine, use No. 6 Tetz 
cotton and cord on the edge of the velvet, 
where you have cut it, covering the cord 
smoothly and closely with silk of the same 
shade as the material under the velvet. Use 
No. o needle and No. oo silk. 
• After the cording is finished, cut the crino- 
line away from the back, as close to the stitch- 
ing as possible, but be careful not to cut a 
stitch. 

Do not use an iron for pressing, but take 
three thicknesses of muslin, wet them in clean, 
cold water, and wring out partly, so that they 
will not drip. Spread then smoothly on a pine 
table, lay the work on it, velvet side up, draw 
it tight and perfectly straight and tack it 



enough to keep it so. It is well to sew a strip 
of muslin all around the edge of the work, 
and put the tacks in this muslin. Do not take 
the work up until it is perfectly dry. 

This applicjue may also consist of satin on 
satin, satin on cloth, cloth on cloth, or of ba- 
tiste, nainsook or bolting-cloth applied to net. 
If these materials are used, it is not necessary 
to employ the stiff linen, as the embroidery 
frame may be used, because the difficulty 
existing when velvet is used is absent in this 
case. When the embroidery frame is used, the 
stitching outlining the design must be done as 
each additional portion of the work is placed in 
the rings. This work is frequently used for 
hangings, dresses, cloaks, spreads, sash 
curtains and other household decorations. 
Fig. 2 shows a handsome cover made of ap- 
plique of velvet on satin and embroidered in 
silk. 

As you w'ill notice in taking up this new 
series of embroidery, we have selected the most 
simple and best adapted for the first lesson. 
This offers the fewest difficulties, although we 
may say that practically no difficulties at all 
exist with the new method of embroidery once 
you have thoroughly mastered the use of the 
machine itself. As already explained in the 
other lessons, as soon as you have succeeded in 
learning how to cover the cord perfectly you 
may well say that you have conquered all the 
difficulties. Those who have attentively fol- 
lowed the instructions and have, therefore, suc- 
ceeded in learning to control the movement of 
the embroidery frame, will appreciate the truth 
of these assertions. Everything else is simply 
instructions as to the preparation of the work 
and the order in which the various kinds 
should be taken up. 



89 




Applique on Net. 



Net Applique 



As a sequel to the preceding lesson and in 
order that you may better learn the slight dif- 
ference of treatment between appliques of vel- 
vet already shown and of other appliques 
not made of that material, we now describe 
how to make net applique on a Singer Sewing 
Machine. The knowledge of this work will 
constitute a basis upon which to make com- 
binations of various materials that may serve 



Choose the material to be employed accord- 
ing to your own taste and to the object to 
which it is to be put. When it is to be used 
for cording jabots, ladies' gowns, or even neck- 
wear, very handsome results may be obtained. 

Stamp the design on the material that is to 
be used for the applique, then place this 
on the net, which must have a round mesh. 
The two materials must then be basted care- 




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Figure i 



as a groundwork for applique. The chief dif- 
ference between net applique and that of velvet 
consists in the manner in which the materials 
must be prepared for work. When using net, 
use the hoop embroidery frame, and eliminate 
the stiff linen which is no longer necessary. 
The net may be embroidered in beautiful lace 
stitches, this form of the applique lending 
itself to many combinations that are both 
eleeant and beautiful in effect. 



fully together, and placed in the embroidery 
frame, care being taken to see that both are 
evenly and firmly spanned by the hoops. Out- 
line the design twice with machine stitching 
as usual, covering all that part embraced by 
the frame, then proceed to cut away the cloth 
close to the stitching and outlining the pattern, 
leaving the net representing the applique un- 
covered as is shown in A, Fig. i. 

Now proceed to embroider the lace stitches 



91 



on the net These nia}- be varied at w ill by 
selecting those stitches best adapted to the 
design employed and best harmonizing with 
each figure of that design. Of course, the 
same figures must always contain the same 




Figure 2 



given 
same 



stitches, that is, all the petals of 
flowers must be embroidered in the 
stitches. Whatever stitch is selected for the 
stems must be used in all the stems, and that 
chosen for the leaves must again appear in all 



the leaves. This will be made plain to you if 
you will consult Fig. i. When this part of 
the work is finished cord the outline of the 
design, using a five-strand cord for the pur- 
pose. If silk be not used, the cording and 
stitches may be done with a No. 00 
needle, and No. 150 thread. 

Fig. 2 shows a section of a panel. 
This elegant and artistic work is made of 
appliques of bolting-cloth on net. The 
handsome sprays of flowers that form 
the design are of light cream-colored 
bolting-cloth adorned with a combination 
I if artistic lace stitches which we shall 
describe later, and appliqueed on white 
net. This produces an effect of charming 
elegance and admirable simplicity. 

The process is the same. The design 
is stamped upon bolting-cloth. This is 
laid smoothly on the net, held in place by 
a basting stitch and then spanned by the 
rings, the outline being again followed by 
the machine stitching. Cut the bolting- 
cloth out of those parts of the design to 
be filled in with the lace stitches. Now 
fill in the open spaces and cut the bolting- 
cloth close to the machine stitching out- 
lining the design, leaving the figures of 
the latter uncovered and standing out 
from the net. 

The outlines should now be corded. 
I '>egin this by first cording the stems and 
branches, as these usually terminate in 
the leaves and flowers. This enables you 
to cover the joining more easily. 

Here you have a work that unites 
beauty and elegance with simplicity, and the 
ease with wdiich this is done with the extraor- 
dinary Singer Sewing Machine method will 
enable you to finish scarfs, bed-spreads, and 
many other objects quickly and satisfactorily. 



92 



Index 



Page 

General Instructions 3 

Shaded Embroidery ( Flowers ) 9 

Art Embroidery 11 

Raised Embroidery 14 

Scallops, Beadstitch. Cording 18 

Venetian Embroidery 20 

Seed Stitch 23 

English or Eyelet Embroidery 25 

Shaded Embroidery on \'elvet or Plush 27 

Gold Thread Embroidery 29 

First Openwork Stitciies 31 

Filet, Netting or Open Mesh Embroidery 34 

Hedebo Embroidery 41 

Richelieu Lace 43 

Point X'enise 46 

Renaissance Lace 49 

English Point c^2 

Duchess Lace 57 

Brussels Lace 60 

Novelty Lace 65 

Point Lace 67 

Cluny Lace 70 

Hemstitching 72 

Mexican Drawn-Work 75 

Mexican Drawn-Work ( Second Part ) yy 

Teneriffe Wheels 84 

Velvet Applique 87 

Net Applique 91 



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